W  DMVSON  ARMSTRONG 

MKRICAN  COMPOSER 


W.T.NORTON 


William     dawson    Armstrong 


WILLIAM 
DAWSON 
ARMSTRONG 


AMERICAN 
COMPOSER 


r     W 


W.  T.  NORTON 


BREITKOPF  V  HARTEL 

NEW  YORK 

N.  Y. 


u 


COPYRIGHT    1916 


BREITKOPF    A    HARTEL 
NEW    YORK 


Introductory 

HE  progress  of  musical  culture  in  the  Middle 
West  has  kept  pace  in  its  development  with 
literature,  science  and  art.  To  the  western 
wilds,  in  the  early  days,  came  the  more  pro- 
gressive and  enterprising  citizens  of  New  York,  New 
England  and  Pennsylvania,  seeking  wider  opportunities. 
There  also  came  a  strong  element  of  immigrants  from 
Europe  who  sought  individual  development  in  exchange 
for  national  efficiency.  Naturally  the  two  preceding 
generations  were  absorbed  mainly  with  material  con- 
cerns: the  breaking  of  the  prairie;  the  felling  of  the 
forest,  the  building  of  railroads  and  the  founding  of 
cities.  They  acquired  wealth  and  position  but  had  not 
all  the  time  they  desired  to  devote  to  the  higher  things 
of  life.  But  this  lack  of  opportunity  for  cultural  devel- 
opment, along  artistic  lines,  made  them  all  the  more 
eager  that  their  children  should  enjoy  the  advantages 
denied  to  them.  They  founded  and  endowed  schools  of 
music,  art  and  literature,  rivaling  in  their  advantages 
the  older  institutions  of  the  East.  They  cheerfully 
taxed  themselves  to  establish  state  normal  schools  and 
universities.  No  expense  was  spared  in  equipping 
these  institutions  and  in  providing  them  with  instructors 
of  superior  ability.  Illinois,  the  imperial  state  of  the 
West,  led  in  all  these  advances  making  it  the  center  of 
learning  and  culture.  Out  of  these  conditions  has  arisen 
a  generation  of  cultivated  men  and  women,  a  bright 


8  William  Dawson  Armstrong 

galaxy  of  authors,  artists,  musicians  and  composers. 
Chief  among  these  are  the  composers  because  they  are 
not  merely  skilled  interpreters  of  other  men's  works 
but  they  are  creators  and  discoverers.  They  rank  with 
the  great  inventors  and  scientists  who  have  enriched 
and  advanced  the  world  by  their  genius.  Their  crea- 
tions are  not  the  ephemeral  things  of  a  day  but  soar  to  a 
higher  plane,  to  a  realm  above  the  material  where 
beauty  and  light  are  enthroned,  and  the  longings  of  the 
soul  are  satisfied.  Consider  the  compositions  of  the  great 
masters  of  the  past  that  have  come  down  through  the  cen- 
turies, still  as  grateful  to  the  senses  as  when  first  given  to 
the  world.  And  in  them  the  great  composers  still  live 
in  eternal  youth.  There  is  an  earthly  immortality  as 
well  as  a  heavenly  one  and  by  this  token  none  of  the 
great  composers  has  ever  died.  They  live  on  and  on 
in  the  works  they  have  left  behind  them.  Some  of 
them  lived  on  earth  ahead  of  their  time  and  were  only 
appreciated  after  they  had  passed  from  the  sight  of  an 
untoward  generation,  but  they  lived  again  after  the 
world  had  grown  up  nearer  to  their  level.  David,  the 
"  sweet  singer  of  Israel,"  still  lives  in  the  psalms  and 
spiritual  songs  that  have  come  sounding  down  the  ages. 

To  the  composer  it  must  be  inspiring  to  reflect  that 
he  is  not  laboring  for  the  present  only  but  for  all  time; 
that  his  life  as  expressed  in  his  work  is  to  go  on  and  on 
through  later  generations,  whether  his  own  receives 
him  or  not. 

Among  Illinois  composers  William  Dawson  Arm- 
strong stands  pre-eminent  an  honor  to  the  state  of  his 
birth.  For  years  he  has  enjoyed  a  national  and  inter- 
national celebrity.  A  master  musician,  his  finished 
technique,  his  skill  in  fitting  the  thought  to  sympathetic 


American  Composer  9 

music,  are  the  admiration  of  all  who  have  studied  his 
works.  I  am  no  musician.  I  can  only  wonder  and 
admire  while  to  others  it  is  given  to  understand.  Hence 
I  refer  to  the  tributes  of  the  elect,  as  expressed  in  this 
volume,  the  musical  contemporaries  of  our  friend;  the 
musicians,  composers  and  publishers  of  this  country  and 
Europe  who  voice  in  no  uncertain  tones  their  appre- 
ciation of  Prof.  Armstrong's  compositions.  Their  testi- 
mony, spontaneous  and  unsolicited,  is  assurance  that 
the  immortality  of  which  I  spoke,  will  be  his,  also,  and 
with  ever  increasing  appreciation  as  the  years  go  by.  It 
is  a  pleasant  thought  that  one  who  goes  in  and  out  among 
us,  in  his  daily  round  of  duty,  is  building  up  a  lasting 
fame  for  himself  and  the  city  of  his  birth.  I  do  not 
attempt  to  explain  his  genius  for  composition  or  his  mar- 
velous skill  as  a  musician.  Genius  is  elusive.  Perhaps 
there  is  something  in  his  heredity,  a  talent  handed  down 
from  musical  forebears,  and  manifest  in  his  early  child- 
hood. But  this  I  know  that  unremitting  study  in  this 
and  other  lands,  an  absorbing  devotion  to  his  art,  a  con- 
stant reaching  forward  towards  higher  ideal,have  supple- 
mented his  natural  genius.  His  works  speak  for  them- 
selves ;  praise  or  criticism  from  a  layman  would  neither 
elevate  nor  disparage  them.  Those  who  know  have 
rendered  their  verdict. 

Prof.  Armstrong  is  still  in  his  prime.  Doubtless 
his  greatest  legacies  to  the  world  of  music  are  yet 
unwritten.  I  know  he  presses  toward  the  mark,  never 
satisfied  with  the  past  but  ever  looking  forward 
towards  greater  things  to  come.  His  modest  biography 
follows;  also  something  of  his  environment  and  its  pos- 
sible formative  influence,  which,  to  the  professional, 
may  explain  his  gift  in  portraying  in  "  songs  without 


10  William  Dawson  Armstrong 

words,"  the  varying  emotions  of  joy  and  gladness,  of 
sorrow  and  pain;  the  stately  harmonies  of  the  cathedral, 
the  senuous  measures  of  the  dance,  or  the  exultant 
strains  of  patriotic  expression.  His  genius  seems 
all-embracing.  The  high  positions  to  which  he  has  been 
called,  the  generous  appreciation  of  professionals,  the 
applause  of  the  public,  are  alike  pleasing  to  those  who 
admire  his  talents. 

But  Prof.  Armstrong's  endeavors  have  not  been  con- 
fined to  the  philosophy  and  science  of  music,  its  compo- 
sition and  expression,  but  have  embraced  a  wide  field  of 
technical  information.  His  knowledge  of  individual 
music  and  musical  knowledge  is  comprehensive.  He 
seems  well  posted  on  the  life  and  work  of  every  com- 
poser of  note  and  what  they  have  accomplished.  The 
address  he  delivered  before  the  State  Teacher's  Asso- 
ciation in  February,  1915,  on  "Illinois  Composers," 
appears  in  this  volume  and  is  an  encyclopoedia  of  infor- 
mation for  those  interested  in  musical  culture.  His 
biographical  sketches  of  these  gifted  individuals  is 
invaluable.  His  estimates  of  their  work  is  appreciative 
and  catholic.  It  is  sometimes  charged  that  contempor- 
ary musicians  are  jealous  of  each  other's  fame,  but 
Prof.  Armstrong's  address  shows  nothing  of  this  spirit. 
It  is  kindly  and  appreciative  throughout.  His  criticisms 
are  so  admirable  in  expression  and  so  incisive  in 
analysis,  that  none  can  question  his  fairness  of  judgment 
based  on  actual  knowledge.  The  good  book  tells  us  "that 
a  prophet  is  not  without  honor  save  in  his  own  country 
and  among  his  own  kin."  But  this,  happily,  is  not  true 
of  Prof.  Armstrong.  As  a  man  and  a  citizen  he  is 
known  and  honored  by  the  entire  community.  He 
does  not  dwell  apart  but  is  abreast  of  its  civic  life.    As 


American  Composer  11 

a  composer  he  is  equally  honored  by  the  elect  who  sit 
in  high  places  in  the  realm  of  music.  Although  civic, 
fraternal  and  professional  honors  have  come  to  him,  not 
all  of  his  fellow  citizens  know  of  his  brilliant  reputation 
abroad.  This  arises  from  the  nature  of  his  work.  It  is 
not  bounded  by  local  limits  but  appeals  especially  to 
music  lovers  the  world  over. 

That  this  modest  volume  may  give  the  musical 
world,  as  well  as  his  home  associates,  a  fuller  under- 
standing of  his  life  and  attainments,  is  the  hope  of  this 
Foreword. 

W.  T.  NORTON, 
Vice-President 
Illinois  Historical  Society. 


BIOGRAPHICAL 

William  Dawson  Armstrong,  possibly  best  known 
to  the  public  as  a  musical  composer,  was  born  February 
11th,  1868,  in  Alton,  Illinois. 

His  Birthplace 

A  bright  day  in  June,  1673,  down  the  river  come 
drifting  with  the  current  two  canoes.  In  them  are 
seated  seven  Frenchmen,  two  of  them  are  Marquette 
and  Joliet,  the  already  famous  explorers,  who  to  their 
other  laurels  had  just  added  the  discovery  of  the  Upper 
Mississippi.  They  were  the  first  white  men  to  view  the 
site  on  which  Alton  now  stands.  That  they  got  a  start- 
ling impression  of  it  is  shown  by  the  record  made  by 
the  gentle  Father  Marquette  in  his  journal.  The  paint- 
ing on  the  rocks  which  he  described,  was  the  famous 
"  Piasa  Bird,"  since  perpetuated  in  song  and  story.  The 
good  father's  praise  of  the  skill  of  Alton's  prehistoric 
artist,  is  appreciated  to  this  day,  while  his  criticism  of  the 
wild  and  muddy  ways  of  the  Missouri  is  accepted.  It  is 
243  years  since  he  made  his  observations  and  no  reforma- 
tion in  the  Missouri's  mode  of  progress  is  yet  apparent. 

One  hundred  and  seven  years  pass  away  after 
Marquette's  discovery  of  the  site  of  Alton.  The  Revo- 
lutionary war  is  in  progress.  England  also,  is  at  war 
with  Spain,  and  the  two  countries  are  fighting  each 
other   across  the  borderland  between  the   Louisiana 


14  William  Dawson  Armstrong 

territory  and  Canada.  On  the  morning  of  the  26th  of 
May,  1780,  the  aboriginal  denizens  of  the  site  of  Alton, 
might  have  witnessed  a  fine  sight  from  the  summit  of 
the  bluff.  They  would  have  seen  a  fleet  of  canoes  filled 
with  savage  warriors  under  British  officers  on  their  way 
from  Canada  to  attack  St.  Louis  and  Cahokia.  The 
invaders  were  750  strong  and  their  war  fleet  filled  the 
river  almost  from  bank  to  bank.  As  they  came  oppo- 
site the  picture  of  the  Piasa  Bird  on  the  rock  there  was 
a  sudden  crash  of  musketry  and  a  cloud  of  arrows  filled 
the  air.  The  bullets  crashed  against  the  picture  and 
the  flint  tipped  arrows  dented  the  cliff.  With  this 
expression  of  hatred  or  defiance  of  "  the  bird  which 
devours  men,"  the  savage  warriors  swept  on  down  the 
river.  Two  days  later  they  came  paddling  laboriously 
back  up  stream.  The  Spaniards  had  defeated  them  at  St. 
Louis  and  Gen.  Clark  had  hurled  them  back  from  the 
defenses  of  Cahokia.  In  after  years,  even  after  Alton 
had  become  a  large  town,  Indian  delegations  passing 
down  the  river  would  fire  their  rifles  at  the  Piasa  Bird 
as  they  passed  down,  then  come  ashore  and  perform  a 
war  dance  on  the  bluffs  above  the  picture. 

The  Piasa  Bird 

The  version  of  the  legend  of  the  Piasa  Bird  pub- 
lished by  Prof.  John  Russell  in  the  early  days  is  given 
below : 

"  Many  thousand  moons  before  the  arrival  of  the 
pale  faces,  when  the  great  megalony  and  the  mastodon, 
whose  bones  are  still  dug  up,  were  yet  in  the  land  of 
the  green  prairies,  the  numerous  and  powerful  nation 
called  the  Illini,  inhabited  the  state  which  now  bears 


American  Composer  15 

their  name  and  over  the  greater  portion  of  which  their 
hunting  grounds  extended.  For  many  years  they  con- 
tinued to  increase  in  numbers  and  prosperity,  and  were 
deemed  the  bravest  and  most  warlike  of  all  the  tribes 
of  the  great  valley.  At  length  in  the  most  populous 
district  of  their  country — near  the  residence  of  their 
greatest  chief— there  appeared  an  enormous  creature, — 
part  beast  and  part  bird, — which  took  up  its  abode  in 
the  cliffs,  and  banqueted  daily  on  numbers  of  the  people 
whom  it  bore  off  in  its  immense  talons.  It  was  covered 
with  scales  of  every  possible  color,  had  a  huge  tail 
with  a  blow  of  which  it  could  shake  the  earth.  From 
its  head,  which  was  like  that  of  a  fox  with  the  beak  of 
an  eagle,  projected  immense  horns,  and  its  four  feet 
were  armed  with  powerful  talons,  in  each  of  which  it 
could  carry  a  buffalo.  The  flapping  of  its  enormous 
wings  was  like  the  roar  of  thunder  and  when  it  dived 
into  the  river  it  threw  the  waves  high  up  on  the 
land. 

"  To  this  animal  they  gave  the  name  of '  Bird  of  the 
Piasau,'  or  '  Bird  of  the  Evil  Spirit,'  (according  to  some 
4  The  bird  which  devours  men ').  In  vain  did  the  med- 
icine men  use  all  their  power  to  drive  away  this  fearful 
visitor.  Day  by  day  the  numbers  of  the  tribe  dimin- 
ished to  feed  his  insatiable  appetite.  Whole  villages 
were  depopulated  and  consternation  spread  among  all 
the  tribes  of  the  Illini.  At  length  the  young  chief  of 
the  nation,  Ouatoga,  or  Wassatoga,  beloved  of  his  people 
and  esteemed  the  greatest  warrior  and  whose  fame 
extended  even  beyond  the  great  lakes,  called  a  council 
of  the  priests  in  a  secret  cave,  where,  after  fasting  many 
days,  they  slept.  And  the  Great  Spirit  came  to  the 
young  Chief  in  his  sleep  and  revealed  to  him  that  the 


16  William  Dawson  Armstrong 

only  way  to  rid  his  people  of  their  destroyer  was  to 
offer  himself  as  a  sacrifice. 

"Ouatoga  awoke,  aroused  the  slumbering  priests, 
and,  informing  them  of  what  had  occured,  announced 
his  intention  of  making  the  required  sacrifice.  Ouatoga 
then  dressed  himself  in  his  chieftain's  garb,  put  on  his 
war  paint  as  if  going  to  battle,  and  taking  his  bow  and 
arrows  and  tomahawk,  placed  himself  on  a  prominent 
rock  overhanging  the  river  (now  called  Lovers'  Leap), 
and  awaited  the  coming  of  the  monster  bird.  Mean- 
while, as  had  been  directed  to  his  vision,  a  band  of  his 
best  braves  had  been  concealed  in  the  interstices  of  the 
cliffs,  waiting,  each  with  his  arrow  drawn  to  the  head, 
until  their  chief  should  be  attacked,  to  wreak  their 
vengeance  on  their  enemy.  High  and  erect  stood  the 
bold  Ouatoga  chanting  his  death  song  with  a  calm  and 
placid  countenance,  when  suddenly  there  came  a  roar 
as  of  awful  thunder,  and  in  an  instant  the  bird  of  the 
Piasau,  uttering  a  wild  shriek  that  shook  the  hills, 
swept  down  upon  the  chief.  At  that  moment  Ouatoga 
dealt  it  a  blow  with  his  tomahawk,  and  every  bow  of 
the  braves,  sprung  at  once,  sent  its  arrow  quivering  up 
to  its  feather  into  its  body.  The  Piasau  uttered  a  shriek 
that  resounded  far  over  the  opposite  shore  of  the  river 
and  expired.  Ouatoga  was  safe.  Not  an  arrow,  not 
even  the  talons  of  the  bird  had  touched  him. 

"  The  Master  of  Life,  in  admiration  of  the  generous 
deed  of  Ouatoga,  had  held  over  him  an  invisible  shield. 
The  tribe  now  gave  way  to  the  wildest  joy,  and  to  com- 
memorate their  deliverance  painted  the  figure  of  the 
bird  on  the  side  of  the  cliff  on  whose  summit  the  chief- 
tain stood,  and  there  it  has  endured  for  ages,  a  mark 
for  the  arrow  or  bullet  of  every  red  man  who  has  since 


American  Composer  17 

passed  in  ascending  or  descending  the  great  father  of 
waters." 

Legend  of  Lovers'  Leap 

Next  to  that  of  the  Piasau  Bird,  the  legend  of 
Lover's  Leap  is  perhaps  the  most  noted  and  interesting 
ot  any  that  cluster  around  the  vicinity  of  Alton.  The 
point  described  is  located  at  the  southernmost  extrem- 
ity of  Prospect  street,  in  the  city  of  Alton,  where  it  ends 
in  a  sheer  bluff  rising  two  hundred  feet  from  the  bank 
of  the  river.  It  is  one  of  the  few  landmarks  of  special 
interest  in  this  vicinity  that  have  escaped  the  defacing 
hand  of  civilization,  and  commands  one  of  the  most 
magnificent  views  to  be  found  anywhere  in  the  Missis- 
sippi valley. 

The  following  metrical  version  of  the  legend  is  by 
Frank  G.  Riehl,  late  of  Alton : 

Slow  the  summer  day  lies  dying,  in  the  shadowy  arms  of  night, 
And  the  winds,  its  requiem  sighing,  sweeps  around  the  headlands  white. 
Hear  it ;  like  a  soul  in  anguish,  that,  distracted,  comes  to  weep, 
Fretting  its  fantastic  pinions  on  the  rocks  of  Lovers'  Leap : 
Here  where  pale  the  moonbeams  glisten,  let  us  sit  and  muse  awhile, 
And  the  prospect  will  repay  us  for  the  moments  we  beguile. 

Soft  the  landscape  is,  and  dreamy,  and  the  stars  shine  overhead : 
Far  below  the  rippling  waters  glide  along  their  sandy  bed ; 
Over  stream  and  hill  and  valley  Nature  holds  her  court  supreme, 
And  I  catch  the  tender  cadence  of  a  golden,  olden  dream. 

Long  ago,  so  runs  the  records,  ere  the  paleface  saw  the  land, 
And  the  red  man  in  his  glory  trod  the  river's  shining  sand, 
Came  a  maiden  here  to  worship  every  evening,  when  the  sun 
Dipped  behind  the  western  woodland,  and  the  daily  chase  was  done — 
Came  to  thank  the  Blessed  Spirit  for  the  many  mercies  sent, 
And  to  ask  for  all  her  people  grace  and  plenty,  and  content. 


18  William  Dawson  Armstrong 

Fair  she  was,  this  dusky  damsel,  daughter  of  the  tribal  chief, 
And  she  bore  a  charmed  existence  in  the  popular  belief : 
Many  of  the  brave  young  warriors  had  contended  for  her  hand, 
And  though  all  had  failed  to  win  her,  all  were  slaves  to  her  command. 


But  it  chanced  one  fatal  evening,  gazing  hence  across  the  stream, 
She  beheld  a  youthful  boatman,  in  the  early  twilight  gleam, 
And  she  hailed  the  comely  stranger,  till  he  turned  in  at  the  shore ; 
He  was  of  another  people,  whom  she  ne'er  had  known  before. 
Each  found  pleasure  in  the  other,  and  the  chance  acquaintance  grew 
Till  they  vowed  to  bide  together,  and  exchanged  love's  pledges  true. 
But,  alas !  one  eve  they  lingered,  gazing  on  the  peaceful  tide, 
As  the  youth  told  his  devotion,  kneeling  fondly  at  her  side, 
When  their  tryst  was  rudely  broken,  through  a  jealous  rival's  eyes 
Who  beheld  an  interloper  winning  thus  his  cherished  prize, 
And  at  once  did  spread  the  story  that  a  hated  enemy 
Was  enticing  their  fair  princess  from  her  native  tribe  to  flee. 
Then  the  chieftain,  flushed  with  anger,  seized  his  trusty  bow  and  dart, 
And  forbade  his  warriors  weapons — he  should  pierce  the  villian's  heart: 
Stealthily  he  stole  upon  them,  all  unconscious  of  their  doom, 
Till  his  shout  of  warning  echoed  like  a  death-knell  through  the  gloom ; 
Instantly  the  maiden,  pleading,  sprang  to  shield  her  lover's  form ; 
Woe !  the  deadly  arrow  speeding,  sought  her  lifeblood,  fresh  and  warm  : 
Then  the  grim  old  warrior  staggered, — he,  a  master  in  his  art, 
Who  had  never  missed  a  target,  shot  his  daughter  through  the  heart ; 
And  the  youth,  when  comprehending,  caught  the  fair  form  in  his  arms 
While  the  angry  horde,  advancing,  pressed  him  close  with  wild  alarms ; 
When  he  sprang  upon  yon  boulder,  stood  a  moment  calmly  there, 
Cast  at  them  a  cold  defiance — then  leaped  out  upon  the  air. 


Afterwards  they  found  them,  mangled,  lying  on  the  rocks  below, 
And  the  hills  re-echoed,  sadly,  the  remorseful  cries  of  woe. 
Tenderly  the  twain  were  buried,  on  the  summit,  side  by  side, 
While  the  Indian  priest,  foreknowing,  at  the  service  prophesied 
That  the  place  should  e'er  be  sacred  to  the  spirit  it  had  served, 
As  the  homes  of  many  people  who  these  favors  well  deserved — 
That  the  Manitou's  best  blessings,  ever  coming  from  above, 
Here  would  hold  his  chosen  children  in  the  happy  bonds  of  love. 


American  Composer  19 

Little  dreamed  the  savage  savant  how  his  words  would  be  fulfilled, 
That  another,  conquering  nation  on  the  sacred  spot  would  build, 
When  his  own  had  crossed  the  river,  driven,  never  to  return, 
To  the  distant,  arid  regions  where  the  sunset  glories  burn  : — 
Little  recked  he  of  the  changes,  coming  down  the  vales  of  Time, 
That  should  blight  his  native  woodlands  in  the  grandeur  of  their  prime. 
When  a  wilderness  of  wigwams,  mountain  high  beside  his  own, 
Should  obliterate  his  footprints  from  the  land  which  he  had  known. 

But  he  spoke  with  truth  inspired :    Though  the  Indian's  sun  hath  set, 
And  his  memory,  most  forgotten,  only  lingers  with  us  yet 
In  a  score  of  doubtful  legends,  such  as  that  rehearsed  above, 
Illustrative  of  his  nature,  passionate  with  hate  and  love  : — 
Other  hearts  here  oft  have  spoken  loves  as  true  as  theirs  of  old, 
And  exchanged  some  tender  token  as  the  fateful  tale  was  told : 
And  we  hold  the  place  in  rev'rence,  as  each  passing  season  brings 
Joys  that  bide  in  every  household,  like  a  dove  with  folded  wings, 
While  the  voice  of  new  endeavor,  ever  just  before  us,  leads 
On  to  braver,  worthier  efforts,  loftier  aims  and  better  deeds. 

Yes,  methinks  I  have  been  dreaming,  and  we,  too,  must  go  to  rest, 
For  the  morrow  brings  new  duties  and  another,  nobler  quest : 
Peace  enwraps  the  slumbering  city,  but  the  winds  their  vigils  keep 
Crooning  their  prophetic  murmurs  round  the  point  of  Lovers'  Leap. 


In  the  Early  Days 


Alton  had  a  part  of  some  prominence  in  the  Black 
Hawk  War.  After  the  close  of  the  Indian  troubles  in 
1832  Alton  increased  rapidly  in  business  and  population. 
It  was  considered  the  most  desirable  location  on  the 
east  side  of  the  river.  Still  it  was  realized,  even  then, 
that  St.  Louis  was  still  better  situated  for  a  commercial 
center  and  that  Alton  could  only  hope  for  the  trade  of 
the  back  country  and  a  share  of  river  commerce.  St. 
Louis  was  settled  in  1763,  nearly  sixty  years  before 
Alton  was   thought  of,  and  was  a  large  and  flourish- 


20  William  Dawson  Armstrong 

ing  city  before  Alton  was  incorporated  as  a  town 
Alton  was  never  a  rival  of  St.  Louis,  although  some 
speculators  and  real  estate  dealers  may  have  represen- 
ted to  credulous  buyers  that  it  was  bound  to  become 
such.  The  oft-printed  hoax  that  letters  were  once 
addressed  to  "  St.  Louis  near  Alton  "  is  a  gag  perpe- 
trated by  some  humorist  after  the  collapse  of  1837. 
From  1832  to  the  close  of  1837  the  progress  of  Alton  was 
rapid.  Factories  and  mills  were  established,  wholesale 
and  retail  stores  multiplied,  river  trade  was  brisk,  several 
steamboats  being  owned  in  Alton,  and  every  out- 
look was  fair  for  the  realization  of  the  dreams  of  the 
founders.  A  fine  class  of  population  came  in,  mainly 
from  the  eastern  states.  They  were  men  of  education 
and  distinction  in  business  or  the  learned  professions ; 
lawyers,  physicians  and  ministers  of  the  gospel. 

In  1836  Elijah  P.  Lovejoy  commenced  the  publica- 
tion of  the  Alton  Observer,  an  anti-slavery  paper,  and 
its  troubled  history  and  the  riots  following  its  publica- 
tion, form  the  darkest  page  in  Alton's  history. 

The  Aftermath 

Lovejoy,  before  coming  to  Alton,  had  suffered  mob 
violence  in  St.  Charles  and  St.  Louis,  Missouri.  In  the 
latter  place  his  office  was  destroyed  and  he  was  com- 
pelled to  move  to  Alton  where  St.  Louis  hostility 
followed  him.  Yet  St.  Charles  and  St.  Louis  suffered 
no  detriment  for  their  course  towards  him— perhaps 
because  nothing  better  was  expected  from  them — but 
Alton  was  in  a  Free  state  and  was  made  to  suffer  in 
reputation,  in  wealth  and  in  population  because  the  mob 
spirit  was  not  successfully  curbed  by  the  law-abiding 


American  Composer  21 

citizens  who  made  unavailing  efforts  in  that  direction 
but  were  not  upheld  by  the  authorities.  Not  only  did 
immigration  to  Alton  cease  as  a  sequence  of  the  riot, 
but  many  men  who  had  settled  there  who  held 
anti-slavery  views,  or  who  foresaw  a  shadowed  future 
for  the  city,  sought  new  homes.  Many,  especially 
business  and  professional  men,  moved  to  Chicago  or  St. 
Louis.  Not  for  nearly  two  generations  did  the  city 
rally  from  the  blow.  But  in  1896-7  the  state  of  Illinois 
and  citizens  of  Alton  erected  a  stately  monument  in 
memory  of  the  martyr.  Since  that  time  the  city  has 
grown  and  prospered  remarkably.  Is  there  anything 
in  this  fact  to  encourage  the  theory  that  atonement 
for  a  wrong  must  precede  absolution  ? 

Several  histories  of  the  tragedy  have  been  written : 
One  by  Lovejoy's  brothers ;  one  by  Rev.  Edward 
Beecher,  and  one  by  Henry  Tanner,  one  of  the 
defenders  of  the  press. 

William  Armstrong 

It  is  meet  and  seemly  that  some  permanent  record 
be  placed  in  the  archives  of  the  state  of  citizens 
of  Illinois  who  have  been  identified  with  its 
early  history  and  been  prominent  in  the  upbuilding  of 
the  commonwealth,  that  those  who  come  after  them 
may  know  to  whom  they  are  indebted  for  the  benefits 
they  now  enjoy.  We  are  all  debtors  to  the  honored 
and  useful  lives  of  those  who  have  gone  before  us  and 
prepared  the  way  for  coming  generations.  One  of 
these  pioneers  of  progress  was  the  late  William  Arm- 
strong, of  Alton,  who  passed  away  on  the  second  day 


22  William  Dawson  Armstrong 

of  March,  1902,  leaving  behind  him  the  fragrant  memory 
of  a  life  of  good  deeds  and  righteous  living. 

William  Armstrong  was  the  son  of  Mr.  and  Mrs. 
George  Armstrong,  who  were  among  the  earliest 
settlers  of  Alton.  His  father  was  of  English  birth  and 
his  mother  a  native  of  Pennsylvania.  His  was  an 
honored  parentage.  It  is  a  great  inheritance  to  come  of 
noble  and  worthy  lineage.  The  subject  of  this  sketch 
was  born  in  Alton,  April  5th,  1843.  His  entire  life  was 
spent  in  the  city  of  his  birth.  His  career  was  an  open 
book,  known  and  read  by  all  his  fellow  citizens.  He 
was  educated  in  the  public  schools  and  early  entered 
upon  an  active  business  career.  His  education  did  not 
end  with  his  school  days.  He  was  a  man  of  fine  natural 
abilities  and  had  a  thirst  for  knowledge.  A  student  all 
his  life,  his  range  of  reading  was  varied  and  wide.  He 
took  special  interest  in  economic  and  financial  affairs 
and  their  relation  to  business  conditions.  An  enter- 
taining conversationalist  he  had  also  a  natural  gift  for 
oratory*  Often  called  upon  to  address  public  assemblies 
he  was  listened  to  with  interest  and  profit,  being  clear 
and  logical  in  expressing  his  views  on  almost  any  topic 
that  engaged  the  attention  of  his  fellow  men.  He  was  a 
friend  of  education  and  he  favored  all  projects  to  raise 
the  public  standard  of  morals  and  enlightenment.  Illus- 
trative of  his  interest  in  these  questions  were  his  efforts 
to  establish  and  maintain  the  Piasa  Bluffs  Chautauqua, 
of  which  association  he  was  a  director  for  many 
years. 

Although  not  seeking  public  office,  Mr.  Armstrong 
was,  for  several  terms,  a  member  of  the  city  council, 
giving  his  time  and  labors  in  unstinted  measure  to  the 
upbuilding  of  the  city  of  his  birth  and  loyal  affection. 


American  Composer  23 

He  also  served  as  a  member  of  various  public  commis- 
sions, attended  conventions  at  Washington  and  else- 
where in  the  interest  of  river  improvement  of  which  he 
was  a  warm  advocate.  Prominent  as  a  manufacturer 
and  business  man,  he  also  devoted  much  time  to 
scientific  horticulture  and  floriculture  on  his  beautiful 
estate  in  the  suburbs  of  the  city. 

Mr.  Armstrong  was  a  life-long  opponent  of  slavery, 
even  in  the  days  when  to  express  sentiments  adverse 
to  the  "  divine  institution  "  was  to  invite  ostracism  and 
loss  of  business  patronage.  He  imbibed  strong  anti- 
slavery  sentiments  from  his  mother  in  early  childhood 
and  carried  his  principles  fearlessly  into  manhood.  He 
was  a  devoted  admirer  of  the  career  of  the  heroic  anti- 
slavery  martyr,  Elijah  P.  Lovejoy,  and  was  indefatigable 
for  many  years  in  efforts  to  interest  the  people  in  the 
erection  of  a  suitable  memorial  in  honor  of  the  hero's 
devotion  and  sacrifice.  At  length  his  efforts  and  those 
of  his  associates  in  that  worthy  cause  were  crowned 
with  success.  He  was  vice  president  of  the  association 
which,  through  the  generosity  of  the  State  of  Illinois 
and  citizens  of  Alton,  erected  the  splendid  monument 
in  the  city  cemetery  which  has  become  a  Mecca  to  pil- 
grims from  all  over  the  land.  He  turned  the  first 
spadeful  of  earth  on  the  site  of  the  monument  and 
watched  its  progress  from  foundation  stone  to  the 
winged  statute  of  Victory  which  crowns  its  apex.  When 
he  was  himself  laid  to  rest  in  the  same  cemetery  the 
directors  of  the  association  were  his  honorary  pall 
bearers. 

In  religious  views  Mr.  Armstrong  was  an  adherent 
of  the  Methodist  denomination,  an  almost  life-long 
member  of  that  church,   a  liberal  contributor  to  its 


24  William  Dawson  Armstrong 

benevolences  and  a  faithful  supporter  of  its  ordinances ; 
a  kind  neighbor,  a  devoted  husband  and  father  and  a 
generous  friend  of  the  poor  and  needy.  The  great 
throng  which  attended  his  obsequies  attested  the  public 
appreciation  of  his  worth.  His  fellow  citizens  were 
poorer  for  his  death,  but  the  example  of  his  life  survives 
and  remains  a  stimulus  to  high  endeavor.  The  lesson 
of  his  life  will  long  be  cherished  in  loving  memory — not 
only  by  those  nearest  and  dearest  by  the  ties  of  kindred 
and  friendship,  but  by  the  whole  community. 

Mr.  Armstrong  was  peculiarly  happy  in  his  domes- 
tic relations.  He  was  married  in  1867  to  Mary  E.  Par- 
ker who  survived  him  until  September  11,  1911.  He 
also  left  a  daughter,  Miss  Mary  U.  Armstrong,  and  two 
sons,  Prof.  W.  D.  and  Paul  D.  Armstrong.  The  Arm- 
strong family  has  been  distinguished  through  generations 
for  its  musical  talent.  Miss  Katherine,  a  sister  of  Wil- 
liam, was  for  many  years  the  head  of  the  musical 
department  of  Monticello  Seminary,  and  the  older  son, 
Prof.  W.  D.  Armstrong,  has  won  an  international  repu- 
tation as  a  musician  and  composer.  He  is  also  the  head 
of  the  famous  Armstrong  School  of  Music  in  Alton. 

The  last  days  of  William  Armstrong  were  fraught 
with  suffering  and  weariness.  He  became  a  victim  of  a 
throat  trouble  which  prostrated  him  for  months  before 
the  end  came.  He  died  in  Chicago  while  under  treat- 
ment for  his  grievous  malady.  Throughout  his  long 
illness  he  was  brave  and  patient,  sustained  by  an  unfal- 
tering trust  in  the  Almighty  arm.  When  he  knew  he 
was  dying  his  last  words  to  his  loving  wife  were .  "It 
is  all  right."  And  thus  he  entered  fearlessly  the  valley 
of  shadows. 


American  Composer  25 

Wm.  D.  Armstrong,  Composer 

William  Dawson  Armstrong,  son  of  William  and 
Mary  E.  Armstrong,  received  his  education  in  the 
schools  of  his  native  city,  but  early  began  the  study  of 
music  which  he  prosecuted  zealously  under  many 
teachers.  Among  them  may  be  mentioned  Joseph 
Gratian,  the  noted  organ  builder,  and  Mrs.  Lucia  I. 
Priest  (nee  Imogene  Brown)  of  Alton,  Charles  Kunkel, 
E.  R.  Kroeger,  Louis  Mayer  and  P.  G.  Anton  of  St. 
Louis,  Missouri,  Clarence  Eddy  of  Chicago  and  the 
late  G.  M.  Garrett,  of  Cambridge,  England. 

Mr.  Armstrong  was  instructor  in  the  Forest  Park 
University  for  women  in  St.  Louis,  Missouri,  1891-1892 ; 
Musical  Director  of  Shurtleff  College  and  the  Western 
Military  Academy  in  Upper  Alton,  Illinois,  1892-1908. 
He  was  organist  in  the  First  Baptist  and  St.  Paul's 
Episcopal  churches  of  Alton,  and  later  organist  and 
director  of  the  music  in  the  Church  of  the  Redeemer 
(Episcopal),  1894-1898,  and  the  Church  of  the  Unity  of 
St.  Louis,  1898-1908.  From  1908  to  1912  he  was  Presi- 
dent of  the  Illinois  State  Music  Teachers'  Association, 
and  in  1905-06  Vice  President  of  the  National  Music 
Teachers'  Association,  holding  its  annual  session  at 
Columbia  University,  New  York  City.  He  has  ap- 
peared as  both  concert  organist  and  pianist,  although  of 
late  years  has  made  teaching  a  specialty. 

Mr.  Armstrong  was  selected  as  one  of  the  solo 
organists  at  the  St.  Louis  Louisiana  Purchase  Exposi- 
tion, 1904.  Mr.  E.  R.  Kroeger,  Master  of  Programs,  in 
a  letter  says,  "  Your  organ  recital  was  a  decided  suc- 
cess, and  I  am  glad  to  be  able  to  include  it  in  the  list 
of  Festival  Hall  events .    The  various  selections  were 


26  William  Dawson  Armstrong 

given  individual  character  and  were  most  heartily  ap- 
plauded by  the  audience."  Another  eminent  critic 
writes,  "  Mr.  W.  D.  Armstrong  is  a  pianist  as  well  as  a 
composer  of  note,  and  held  his  hearers  spellbound  during 
his  apparent  easy  rendition  of  many  difficult  selections." 

While  widely  known  as  a  composer,  he  has  con- 
tributed literary  articles  to  the  leading  magazines  and 
papers  of  this  country.  He  has  written  in  nearly  all 
the  larger  and  smaller  forms  of  composition,  for 
Orchestra,  Organ,  Piano,  Voice  and  their  different 
combinations.  Most  of  his  writings  are  in  manuscript, 
including  "The  Specter  Bridegroom,"  an  Opera  in 
three  acts,  first  presented  in  St.  Louis  with  Grace  Van 
Studdiford  in  the  title  role. 

Mr.  Armstrong  is  an  honorary  member  of  the 
Societe  des  Auteurs  and  Compositeurs  de  Musique, 
Paris,  France,  Associate  of  the  London  College  of 
Music,  London,  England,  and  member  of  the  American 
Guild  of  Organists,  always  enthusiastic  over  the 
future  of  American  composers,  and  allowing  no  oppor- 
tunity to  pass  without  presenting  such  works  as  have 
merit.  He  has  been  called  upon  to  hold  positions  of 
trust  and  honor  in  the  community,  being  a  vestryman 
in  St.  Paul's  Episcopal  church,  and  director  of  the 
Young  Men's  Christian  Association,  also  member  of 
the  School  Board  and  Board  of  Trade,  a  Knight  Templar, 
Past  Master  of  the  Masonic  Lodge,  and  President  of 
the  Masonic  Temple  Association. 


COMPOSITIONS 


BY 

W.  D.  ARMSTRONG 

BREITKOPF  &  HARTEL 

LEIPSIG  AND  NEW  YORK  CITY 

Piano  Solo 

No.  1.  A  Night  in  Venice.     (Serenade.) 

2.  Andante  Favorit.    (Homage  a  Beethoven.) 

3.  To  the  Spring.     (Etude.) 

4.  Elegy.     (In  Memoriam.) 

5.  At  Twilight.    (Romanza.) 

6.  In  the  Gypsy  Camp. 

7.  Ancestral  Dance.     (Tempo  di  Gavotte.) 

8.  Album  for  the  Young  Pianist : 
No.  1.    Prelude  (G  major.) 

"  2.  Fairy  Dance  (G  major). 

"  3.  Song  of  Hope  (F  major). 

"  4.  The  Lament  (D  minor). 

"  5.  Scherzo  (B  flat  major). 

"  6.  Finale  (G  major)  (The Whirlwind). 

9.  Virginia.    Waltz  in  Modern  Style. 

10.    Two  Album  Leaves  for  String  Quartet. 
Arranged  for  Piano  Solo. 
No.  1.    Romance. 
"    2.    Dance  Grotesque. 


28  William  Dawson  Armstrong 

No.  11.  Fleeting  Fancies. 

12.  Autumn. 

13.  Gavotte  Gracieuse. 
"     14.  Witches'  Story. 

"     15.  From  the  Old  World  (Overture). 

16.  The  Battle  (A  descriptive  Fantasy). 

17.  Funeral  March.     (In  Memoriam.) 
44     18.  The  Piano-Forte  Pedals. 

19.     Overture  for  a  Religious  Festival. 

Piano  Duets 

(Four  Hands) 

No.  1.     Paola  and  Francesca.     Dialogue. 
"    2.     Papillon.     (Butterfly.)    Air  di  Ballet. 

Instrumental 

No.  1.     Invocation.     (For  Violin  or  Viola  or  Cello 
and  Piano.) 
"    2.     Intermezzo  Gapriccioso  for  String  Orches- 
tra Parts. 
Single  Parts. 
"    3.    Two  Album  Leaves  for  String  Quartet. 
No.  1.     Romance.     Parts. 

Single  Parts. 
"    2.    Dance  Grotesque.    Parts. 

Single  Parts. 
"    4.    Theme  and  Variations.     (G  major). 
(Homage  a  Haydn)  for  String 
Quartet.     Parts. 
"    5.     Barcarolle.     (Hymn  to  the  Night.) 
for  Violin  (or  Cello)  and  Piano. 


American  Composer  29 

No.  6.    From  the  Old  World  (Overture)  Orchestra 

Score. 
"    7.    Valse  Dramatique.    Orchestra  Score. 
"    8.    The  Battle.     Military  Band.     Parts. 
"    9.     Funeral  March.     Military  Band.     Parts. 

Vocal 

No.  1.     In  Absence   and   the    Return.     Rec.   and 
Aria  for  Soprano. 
Full  score  and  orchestral  parts.     M.  S. 


«( 

2. 

Wanderer's  Song.     (Mezzo-Soprano,  Eng- 
lish and  German). 

(( 

3. 

Deception.     (Mezzo-  Soprano,  English  and 
German.) 

«< 

4. 

Farewell.     (Mezzo- Soprano,   English  and 
German.) 

(( 

5. 

I  Hid  my  Love.     (Soprano,  English.) 

M 

6. 

The  Star  of  Bethlehem.    Sacred  Song  for 
Mezzo-Soprano.     ( English: ) 

(« 

7. 

Divided. 

(« 

8. 

A  Love  Song. 

If 

9. 

Song  of  Shadows. 

Choruses 

No 

.  1. 

Light.     Quartet  for  Male  Voices. 

<« 

2. 

My  Love  is  like  a  red,  red  Rose. 

Duet  for  Soprano  and  Alto  with  Piano 
Accompaniment. 

<« 

3. 

When  Piping  Winds  do  Blow.    Glee  for 
Male  Voices. 

<< 

4. 

Communion  Service  for  Episcopal  Church 
in  G  major. 

«« 

5. 

A  Sea  Song. 

30  William  Dawson  Armstrong 


Two  Wedding  Hymns. 

6. 

I.    The  Voice  that  Breathed  over  Eden 

7. 

II.  O  Perfect  Love. 

8. 

Mass  in  F  major. 

For  Male  Voices :     Latin  Words. 

I.     Kyrie. 

II.    Gloria  in  Excelsis  Deo. 

III.     Credo. 

IV.    Sanctus. 

V.    Benedictus. 

VI.    Agnus  Dei. 

Vocal  Score. 

Orchestra  Parts  in  M.  S. 
Flute.  Horns  1.-11. 

Clarinets  l.-ll.       Trombones  l.-ll. 
Bassoons  l.-ll.       Tympani. 

Dear  Mr.   Armstrong:     I   congratulate  you  upon 
the  pieces  published  by  Breitkopf  &  Hartel.    They  do 
you  credit  and  are  highly  interesting.     I  have  used  the 
"Night  in  Venice "  and  shall  use  more  of  them. 
Sincerely  yours, 
Wilson  G.  Smith,  Teacher,  Composer, 

Cleveland,  Ohio. 

ALBUM  FOR  THE  YOUNG  PIANIST.  Another 
set  of  those  welcome  pieces  which  teachers  are 
always  seeking :  interesting,  simple  work  for  older 
beginners.  The  Prelude  is  unusually  melodious 
and  mainly  legato  throughout,  with  the  exception 
of  a  few  staccatto  tones.  Song  of  Hope.  This 
furnishes  a  good  study  in  carrying  the  melody  and 


American  Composer  31 

accompaniment  in  the  same  hand.  The  melody  is 
interesting  and  the  harmonic  background  is  rich 
throughout.  The  Lament,  a  short  piece  of  only  a 
page,  which  gives  opportunity  for  carrying  the 
melody  and  accompanying  chords  in  the  right  hand. 
—Good  Music,  Chicago,  111. 


Mr.   W.  D.  Armstrong:    Your  compositions   are 
very  useful  for  helping  pianists.     Melodious  and  play- 
able, yet  containing  enough  for  serious  study.     I  shall 
use  them  in  my  work  here.     I  remain, 
Yours  very  respectfully, 

August  Geiger, 
Teacher,  Theorist,  Conductor, 
Brenau  College,  Gainesville,  Ga. 

DECEPTION,  and  other  songs,  W.  D.  Armstrong. 
Singable  throughout  and  very  acceptable  pieces  for 
those  of  limited  voice  compass. — Good  Music,  Chi- 
cago, Illinois. 

Mr.  W.  D.  Armstrong: 

My  Dear  Sir:     I  admire  your  compositions  very 
much  and  have  used  them  considerably. 
Sincerely  yours, 

I.  V.  Flagler, 
Concert  Organist,  Composer, 

Auburn,  N.  Y. 

VIRGINIA,  waltz  in  modern  style.  The  themes  are 
quite    simple    and    melodious,    suggestive    of  the 


32  William  Dawson  Armstrong 

beautiful  character  as  we  know  her,  in  the  romance 
of  Paul  and  Virginia.  A  composition  destined  to 
become  widely  played  by  pianists  who  are  looking 
for  something  artistic  in  the  teaching  and  recreative 
line. 


ARTHUR  P.  SCHMIDT,  BOSTON,  MASS. 

Evening  Song. 

Polonaise. 

Nocturne. 

Three  interesting  and  melodious  pieces 

for  piano. 

Suite  de  Ballet. 

I.     Entre  Act,  Valse  Lente. 
II.     Scene  in  the  Garden. 
III.    The  Kermesse. 

Piano  duetts,  melodic.     Excellent 
for  rhythm  and  style. 
(The  orchestra  parts  may  be  obtained 
from  the  publishers.) 

Pastorale  in  G. 

A  graceful  bit  of  writing  for  the  Organ. 

Contemplation.     (A.  R.  Gaul.) 

Slumber  Song.     (L.  Schytte.) 

Evening  Song.     (W.  D.  Armstrong.) 

Postule  from  Noel.     (C.  St.  Saens.) 

Four  superior  arrangements  for  the  Organ, 
of  medium  difficulty. 


American  Composer  33 

Organ  Album :    Six  Compositions. 

Introduction  and  Fughetta.    Contemplation. 

Pastorale.  Canzonetta. 

Choral  Fugue.  Evening  Song. 

Intermezzo. 

Piano  and  Liszt  Organ.    An  interesting 

musical  novelty. 

(Also  arranged  for  Piano  and  small  orchestra.) 

Star  of  Glory. 

Four  part  Christmas  Song  for  women's  voices. 

Praise  my  Soul  the  Lord  of  Heaven. 
Quartette  for  mixed  voices. 

Exposition  Music  Hall, 

St.  Louis  Symphonie  Orchestra, 

January  24th,  1897. 

Pastorale  from  Suite  de  Ballet.        (W.  D.  Armstrong.) 

The  movement  to  be  played  is  the  third  of  a  set  of 
three,  which  the  composer  has  entitled  Kermesse,  a 
German  word  signifying  a  country  fair,  as  such  the 
Allegretto  gives  the  impression  of  a  Rustic  Dance,  for 
it  is  a  jovial,  light  hearted  spirit  that  pervades  it  through- 
out, such  as  Haydn  has  presented  in  his  happiest 
moods.  The  theme  is  contained  in  the  first  eight 
measures  in  the  key  of  B  flat,  repeated  in  the  relative 
minor.  The  trio  is  effectively  introduced  by  horns  and 
cornets,  the  triplet  movement  forms  a  good  contrast. 
The  instrumentation  deserves  commendation. 
Waldemar  Malmene. 


34  William  Dawson  Armstrong 

Mr.  Armstrong  should  feel  highly  gratified  that  his 
composition  was  so  well  received  by  the  audience  at 
Music  Hall  yesterday  afternoon. — St.  Louis  Post  Dis- 
patch. 


OLIVER  DITSON,  BOSTON,  MASS. 

Choral  Mass  in  G. 

This  musicianly  composition  has  received  the 
endorsement  of  the  Society  organized  for  the 
reformation  of  Catholic  music.  It  is  a  true 
devotional  work,  short  and  simple,  essentially 
a  Choral  Mass  for  four  voices.  With  the 
exception  of  the  short  alto  solo  introduction, 
and  brief  tenor  solo  in  the  Agnus  Dei,  there 
are  no  solos.  It  is  not  difficult  of  rendition. — 
Music  Review. 

The  Shepherd  Lady. 

Jean  Ingelow's  exquisite  poem  set  to  music 
for  women's  chorus  and  mezzo  soprano  solo. 
(Orchestral  parts  may  be  obtained  for  both 
these  works.) 

The  Miller's  Daughter. 

When  Thou  Art  Nigh. 

At  Night. 

Three  quartettes,  male  voices. 

Wake,  O  My  Soul. 

Anthem  for  Christmas.  Tenor  Solo,  women's 
quartette,  mixed  chorus. 


American  Composer  35 


Communion  Service,  A  flat  major : 

I. 

Kyrie. 

II. 

Gloria. 

HI. 

Sanctus. 

IV. 

Agnus  Dei. 

V. 

Benedictus. 

VI. 

Gloria  in  Excelsis. 

All  Will  be  Well: 

Sacred  solo  for  medium  voice. 
Piano  and  Organ  accompaniment. 


Dominant  Ninth  Choral  Society 

Alton,  111. 

Miss  Jeanette  McClanahan,  Soloist 

The  Shepherd  Lady  was  reserved  for  the  last  as  it 

was  a  fitting  close  for  the  Dominant  Ninth  season :    It 

was  by  far  the  best  work  given.— Daily  Telegraph. 

Morning  Choral  Club 

St.  Louis,  Mo. 

Mrs.  Seabury  Ford,  Soloist 

Mr.  W.  D.  Armstrong's  Shepherd  Lady  written 

for  the  Morning  Choral   Club,  and   dedicated  to  Mrs. 

James   L.  Blair,  was  given  with  fine    swing,  and  the 

solos,   somewhat  dramatic  in  character,  were  superbly 

sung  by  the  soloist. — The  Mirror. 

Mr.  William  D.  Armstrong  is  an  Illinois  composer 
who  is  well  known  through  his  compositions  which  are 
accepted  in  England  as  well  as  in  America,  and  rank 


36  William  Dawson  Armstrong 

with  the  best  productions  of  the  day.— Choir  Review— 
(O.  Ditson)  Boston,  Mass. 


My  Dear  Mr.  Armstrong :  Many  thanks  for  your 
kind  remembrance.  I  enjoyed  the  Choral  Mass  for  its 
very  limitations,  and  was  pleased  with  the  way  in  which 
you  got  some  good  bits  of  melody  in  the  Benedictus 
and  Agnus  Dei,  without  unnecessary  length.  Remem- 
ber me  to  the  Bluffs,  and  the  Mississippi,  and  the  meet- 
ing of  the  Great  Waters  near  you. 

(Canon)  J.  Harris  Knowles,  New  York  City. 

J.  CHURCH  &  CO.,  CINCINNATI,  O. 

Cephalus  and  Procris. 

A  Cantata,  for  women's  voices. 
Soprano  solo  and  womens'  chorus. 
Dramatic  and  effective. 

Echo. 

Quartette,  women's  voices. 

Good  Night. 

Quartette  for  mixed  voices. 

Dedication  March. 

A  majestic,  stately  composition  for  the  Organ, 
dedicated  to  Mr.  Clarence  Eddy. 

Kisses. 

Quartette  for  mixed  voices. 

O  Perfect  Love. 

Wedding  hymn  for  mezzo  soprano  solo,  and 
mixed  chorus.  Accompaniments  arranged  for 
Piano  or  Harp,  Organ  and  Violin. 


American  Composer  37 

Editor  S.  D. 

Mr.  W.  D.  Armstrong  has  just  placed  for  publica- 
tion a  Cantata  for  women's  voices  entitled  Cephalus 
and  Procris:  It  is  a  setting  of  Thomas  Moore's  beauti- 
ful poem.  The  pastoral  character  of  the  text  is  faith- 
fully reproduced  in  the  music,  its  flowery  rhythm  is 
exquisitely  fitted  to  the  thought  and  image  expressed. 
The  writer  predicts  for  it  a  high  place  among  works  ot 
the  type. — Mrs.  Cora  D.  Rohland. 

NOVELLO,  EWER  &  CO.,  LONDON 
Choral  Evening  Service  in  A. 

A  choral  setting  of  the  Lord's  Prayer,  Creed 

and  Responses. 
Nunc  Dimittis  in  F. 
The  Heavenly  Vision. 

Song  for  medium  voice. 
Magnificat  and  Nunc  Dimittis  in  F. 
Lord  I  Call  Upon  Thee. 


GEORGE  B.  JENNINGS,  CINCINNATI,  O. 
O  Salutaris  Hostia. 

Mezzo  soprano  solo  and  mixed  chorus. 

Piano  and  Organ. 
Calm  on  the  Listening  Ear  of  Night. 

Solo  for  medium  voice. 

Piano,  Organ  and  Violin. 


G.  SCHIRMER,  NEW  YORK 

Impromptu  a  la  Valse. 
Gondellied. 

Two  charming  pieces  for  the  Piano,  dedicated 

to  Mr.  W.  H.  Sherwood. 


38  William  Dawson  Armstrong 

"O  Salutaris  Hostia,"  by  W.  D.  Armstrong,  for 
soprano  or  tenor  solo  and  mixed  chorus,  is  well  worth 
the  attention  of  the  Roman  Catholic  Church.  It  is 
short,  on  classic  models,  churchly  and  effective,  and 
has  been  accepted  by  the  Cincinnati  Diocesan  Commis- 
sion on  Church  Music.  It  is  dedicated  to  his  friend 
Arthur  J.  H.  Barbour  of  Cincinnati,  Ohio.— Musical 
Courier,  New  York  City. 


The  reappearance  of  Madame  Padovanni,  of  the 
Milan  Opera  Co.,  in  a  concert  directed  by  A.  G. 
Robyn  was  a  great  success.  Among  the  choral  num- 
bers was  one,  "  When  Thou  Art  Nigh,"  written  by  W. 
D.  Armstrong,  the  American  composer,  who  lives  at 
Alton,  111.— Musical  Courier,  New  York  City. 


The  male  chorus  was  heard  in  Dudley  Buck's  "  In 
Absence"  and  W.  D.  Armstrong's  "When  Thou  Art 
Nigh,"  the  latter  being  especially  well  sung.— St.  Louis 
Post-Dispatch. 


B.  F.  WOOD  &  CO:,  BOSTON,  MASS. 
A  Pastoral  Prelude. 

A  Memory.    (Meditation.) 

Two  modern  compositions  for  the  Organ. 
"This   series  of  compositions  ought  to  meet 
with  wide  favor,  as  they  are  interesting  and 
effective,  without  excessive  demands  upon  the 
player." — Clarence  Eddy,  Paris,  France. 

I  Am  The  Way. 

A  short  musical  anthem,  suitable  for  ordinary 
choirs. 


American  Composer  39 

Kyrie  in  F. 

A  melodious  setting  of  those  words. 

I  Will  Not  Leave  You  Comfortless. 
Quartette  for  mixed  voices. 

Come !    Kingdom  of  Our  God. 

Soprano  solo    and    chorus,   obligato    for    two 
trumpets. 

The  Ressurrection  Hymn. 

Solos  for  soprano  and  tenor,  mixed  chorus. 

For  He  Shall  Give  His  Angels. 
Quartette,  mixed  voices. 

Lord,  I  Have  Loved  the  Habitation  of  Thy  House. 
Full  anthem,  mixed  chorus,  soprano  and  tenor 
solos. 

Lord,  Thy  Glory  Fills  the  Heavens. 

Mixed  chorus :  solo  for  medium  voice. 

Come,  Jesus  Redeemer. 

Duett  for  soprano  and  tenor:  mixed  chorus. 

Album  of  twelve  melodious  pieces  for  the  Young 
Musician.  Piano  and  Violin.  Edited  by  A. 
M.  Gray. 

Contents : 

I. — Evening  Song. 
II. — Swing  Song. 
HI. — Siciliano. 
IV. — Tempo  de  Valse. 
V.— Gavotte. 
VI.— Hunting  Song. 
VII— The  Sylphs. 
VIII—  The  Butterfly. 


40  William  Dawson  Armstrong 

IX. — March  Militaire. 
X. — Hymn. 
XI.— Musette. 
XII.— Air. 

Jerusalem,  My  Happy  Home. 

Anthem  for  mixed  voices,  tenor  and  soprano 
solo.  

W.  D.  Armstrong  the  composer,  is  an  accomplished 
organist  and  choir  master,  whose  musical  compositions 
bespeak  great  promise  for  the  future.  He  has  written 
several  very  fine  pieces  for  the  Organ. — Choir  Journal, 
Boston,  Mass.  

We  have  received  the  following  compositions  by 
Mr.  W.  D.  Armstrong  of  Alton,  Illinois,  U.  S.  A.,  a 
member  of  the  Guild.  Pastoral  "  Prelude "  and  A 
Memory  (Meditation)  forming  two  of  a  series  of  Organ 
solos  for  Church  or  Concert  use,  published  by  B.  F. 
Wood  Co.,  Boston,  Mass.  They  are  simple  and  melod- 
ious pieces,  suitable  for  the  quieter  items  of  a  recital. — 
The  Minim,  London,  England. 

In  the  morning  service  of  the  Church  of  the  Unity, 
St.  Louis,  Missouri,  on  a  late  date,  selections  were 
played  from  the  works  of  Rheinberger,  Mendelssohn, 
Godard,  Schubert,  and  Dubois.  The  organist,  W.  D. 
Armstrong,  who  is  also  a  fine  composer,  evidently  be- 
lieves in  giving  his  listeners  the  privilege  of  hearing  the 
works  of  the  great  masters,  rather  than  his  own  extem- 
porizations, however  excellent  the  latter  might  be.  The 
two  works  for  Organ  by  Mr.  Armstrong,  Pastoral  "  Pre- 
lude "  and  "A  Memory,"  recently  published,  show  his 
excellence  as  a  composer. — Choir  Journal  (B.  F.Wood) 
Boston,  Mass. 


American  Composer  41 

WM.  E.  ASHMALL,  ARLINGTON,  N.  J. 

Andante  Religiose. 

Fantasie,  G  major. 

Prelude. 

Offertoire. 

Gommunion. 

Choral  Postlude. 

Toccata. 

Gantilene  Nuptiale. 

Postlude,  "Jesus  Christ  is  Risen  Today." 

Organ  Album  containing  above  nine  compositions. 
(These  pieces  have  been  played  by  the  most 
eminent  organists  in  Europe  and  America.) 

Benedictus  in  F. 

Jubilate  Deo  in  G. 

Te  Deum  in  B  flat. 

Mixed  voices.  These  settings  of  the  Canticles 
have  been  widely  used. 

Ode  to  Art. 

Cantata  for  soprano  solo,  male  chorus,  female 
chorus,  and  full  chorus.  With  piano  accom- 
paniment. (The  orchestra  parts  may  be  had 
on  application  to  the  publisher.) 

Prelude  and  Fugue,  E  minor. 

For  piano.    An  interesting  composition. 

I  Will  Lift  Mine  Eyes. 

Fading,  Still  Fading. 

Two  sacred  songs  for  high  voice. 

Morning  Serenade. 

The  Dawn  of  Love. 

Whene'er  I  See  Those  Smiling  Eyes. 

Three  dainty  songs  for  tenor  or  soprano. 


42  William  Dawson  Armstrong 

Shurtleff  College  Anniversary  Exercises  : 

During  the  evening  a  musical  number  of  more  than 
passing  notice  was  given.  It  was  the  Ode  to  Art,  by 
Prof.  W.  D.  Armstrong.  The  work  is  full  of  melody 
and  will  live  on  its  merit. — St.  Louis  Globe-Democrat. 


W.  D.  Armstrong,  Esq., 
My  Dear  Sir: 
Pray  accept  my  warmest  thanks  for  the  volume  ot 
Organ  Music.    The  Toccata  is  very  interesting,  and  I 
am  sure  the  pieces  will  prove  not  only  of  service  to  me 
— but  what  is  more,  a  delight.    Believe  me, 
Yours  truly, 

T.  Westlake  Morgan, 
The  Cathedral  Bangor,  N.  Wales. 


WM.  A.  POND  &  CO. 

We  Sing  Today  Our  Easter  Hymn. 
The  Strife  is  O'er. 

Two  Easter  Carols. 

Fir  and  Pine  and  Holly  Bring. 
Angels  from  the  Realms  of  Glory. 
Two  Christmas  Carols. 


JEAN  WHITE,  BOSTON,  MASS. 

Serenade. 
Romanza. 

Two  popular  pieces  for  Violin  and  Piano. 


CLAYTON  F.  SUMMY,  CHICAGO. 

The  Clover  Blossoms  Kiss  Her  Feet. 

Song  for  soprano  or  tenor.    An  artistic  gem. 


American  Composer  43 


Souvenir  de  Verona. 

A  brilliant  piano  solo. 


National  Music  Teachers'  Association, 
Put  in  Bay,  1902. 
The  American  composers  were  well  and  creditably 
represented  in  the  programs.  Mr.  W.  D.  Armstrong 
was  represented  by  two  beautiful  melodic  songs,  "  The 
Glover  Blossoms  Kiss  Her  Feet,"  and  "  How  Oft  When 
Watching  Stars  Grow  Pale."  Mr.  Milton  B.  Griffith 
sang  them. — Dr.  H.  S.  Perkins  in  Music  Trade  Review. 


The  tenor,  Milton  B.  Griffith  of  Chicago,  formerly 
of  St.  Louis,  Missouri,  sang  his  songs  with  much  variety 
of  tone,  suiting  this  to  the  sentiment  expressed;  and  the 
two  love  songs  by  W.  D.  Armstrong  of  Alton,  Illinois, 
with  their  fine  climaxes,  suited  him  well.  Mr.  Arm- 
strong's "The  Clover  Blossoms,"  especially  made  a 
hit,  the  composer  playing  the  accompaniment  to  the 
entire  group  with  sympathy. — F.  W.  Reisberg,  in  Mus- 
ical Courier,  New  York  City. 

KUNKEL  BROS.,  ST.  LOUIS,  MO. 
In  the  Forest. 
Hunting  Song. 

Two  characteristic  piano  pieces. 
Gavotte  in  B  flat. 

In  the  old  form  with  Musette. 
La  Jota. 

Spanish  Dance. 
Chromatic  Studies. 

A  book  of  twelve  pieces,  each  one  treated 

chromatically. 


44  William  Dawson  Armstrong 

Piano  Album.    (In  the  press.) 

Fair  Poland. 

A  stirring  piano  duett. 

Gloria  in  Excelsis. 

Mixed  voices.  Piano  or  Organ  accompaniment. 

Song  of  Fionnuala. 

The  Exile. 

Slumber  Song. 

What  does  Little  Birdie  Say  ? 

'Twas  All  for  Thee. 

My  Troubadour. 

Love  is  a  Hunter  Boy. 

List  the  Nightingale. 

The  Wanderer. 

Minnie  and  Winnie. 

Welcome,  Sweet  Bird.    Violin  obligato. 

My  Lily. 

Twelve  songs  for  the  medium  voice. 

In  presenting  Wm.  D.  Armstrong's  song,  "  Love  is 
a  Hunter  Boy,"  to  our  readers,  we  do  so  with  special 
pleasure. 

Sometime  ago  this  gifted  young  composer  published 
his  Hunting  Song,  a  piano  composition.  At  the  time 
we  commented  upon  the  originality  of  the  work  thereof, 
and  the  high  place  it  was  entitled  to  amongst  the  writ- 
ings of  the  most  famous  composers.  What  we  then 
said  of  his  piano  composition  can  be  repeated  with 
emphasis  of  his  song.    It  is  a  gem  from  beginning  to 


American  Composer  45 

the  end.  While  the  song  is  not  a  long  one,  the  author 
has  said  enough  to  entitle  his  name  to  be  mentioned  in 
the  front  rank  of  modern  writers. — Charles  Kunkel,  in 
St.  Louis  Star. 


THEODORE  PRESSER,  PHILADELPHIA 

Homage  a  Mozart. 

Duett  for  two  Pianos.  Excellent  for  ensemble 
playing.  (Second  Piano  part  arranged  for 
small  orchestra.) 

Souvenir  de  Varsouvie. 

Mazurka  in  E  major.    Brilliant  and  melodious. 

Sonatina,  G  major. 

Instructive  and  pleasing. 

Album  of  five  Piano  pieces  for  children: 
I. — Prelude. 
II.— Menuett. 
HI.— Slumber  Song. 
IV.— Gavotte. 
V.— Rondino. 

A  very  satisfactory  set  of  teaching  pieces  in 
the  first  and  second  grades. 

Tell  Me,  Dearest  Maiden. 
Song  for  high  voice. 

Love  and  the  Seasons: 

I. — Approach  of  Winter. 
II.— The  Birds  Are  Gone. 
HI.— Waiting. 
IV.— The  Return. 

A  song  cycle  for  mezzo  soprano  or  baritone. 


46  William  Dawson  Armstrong 

A  Forest  Legend. 
Evening  Reverie. 
Two  Piano  solos. 

Lyrics  and  Dances. 

I. — Graceful  Minuet. 
II.-The  Elf's  Story. 
III. — Rococo  Gavottee. 
IV. — Romanzetta. 
V.— Rondo-Etude. 


Homage-Mozart,  two  Pianos  for  hands  by  W.  D. 
Armstrong.  The  composer  here  pays  homage  to  the 
great  master  in  a  rondo,  which  is  not  only  a  fine  com- 
position, but  is  composed  in  a  form  that  will  prove 
useful  and  entertaining  to  teachers  and  pupils.  Both 
Pianofortes  are  printed  side  by  side  on  the  same  page, 
and  they  are  about  equal  as  to  difficulty.  It  is  a  good 
piece  to  use  as  an  introduction  to  concerted  playing  for 
two  pianos.  Mr.  Armstrong  is  a  musician  of  excep- 
tional ability,  and  his  compositions  have  already  won 
great  celebrity.— Mr.  W.  J.  Baltzell  in  the  Etude, 
Philadelphia,  Pa. 


TULLAR,  MEREDITH  &  CO.,  NEW  YORK  CITY 
O  Paradise  Eternal 

Anthem  for  mixed  voices,  soprano  solo. 
Our  Flag. 

Two  Easter  Hymns. 
Thou  Who  Art  Enthroned  Above. 

Choral  for  mixed  voices. 


American  Gomposbr  47 

J.  FISCHER  &  BRO.,  NEW  YORK  CITY 

Hymn. 

Scherzando. 

Recit.  Aria  and  Choral. 

Three  pieces  for  pipe  Organ,  played  by  W. 
Middleschulte,  W.  C.  Carl,  and  other  concert 
organists. 


Dear  Mr.  Armstrong: 

Your  Recit.  Aria  and  Choral  is  a  melodious, 
thoughtful,  composition.  I  shall  play  and  recommend 
it.  Sincerely  yours, 

Wilhelm  Middleschulte, 

Chicago,  111. 

COMPOSITIONS  FOR  THE  ORGAN 

W.  D.  Armstrong. 

Published  by  J.  Fischer  &  Bro.,  New  York  City. 

These  are  three  well  written  pieces  of  the  short 

easy  variety,  especially  suitable  for  students  as  well  as 

for  use  in  the  Church.    They  are  named  respectively 

Hymn,  Scherzando,  a  bright  cheery  piece,  delightful  to 

listen  to,  but  not  so  easy  to  play;  and  Recit.  Aria  and 

Choral. — Church  Music  Review,  New  York. 


My  dear  Mr.  Armstrong:  Enclosed  I  am  sending 
you  program  of  yesterday  evening's  musical  services  at 
the  Old  First  Church,  New  York,  where  I  played  your 
attractive  Aria  and  Choral.  With  kind  regards,  believe 
me,  Sincerely  yours,  William  C.  Carl. 

My  dear  Mr.  Armstrong:  I  enclose  you  a  program 
of  the  Organ  Recital  given  yesterday.     The  Organist 


48  William  Dawson  Armstrong 

was  a  young  man,  plays  well,  and  has  good  promise, 
but — I  found  myself  wishing  that  W.  D.  A.  might  come 
into  the  program  with  a  number  or  two,  and  then  I  would 
have  turned  to  my  friends  beside  me  and  said,  my  organist 
in  St.  Louis.  Rev.  F.  L.  Hosmrr,  Cleveland,  O. 


THE  PARISH  CHOIR 
Boston,  Mass. 

Magnificat  and  Nunc  Dimittis  in  G  major. 

While  Thee  I  Seek  Protecting  Power. 
Soprano  and  Alto  solos,  mixed  chorus. 

An  Easter  Carol. 


MUSICAL  ART  SOCIETY 
St.  Louis,  Mo. 

A  Royal  Procession. 
Piano  solo. 


C.  W.  THOMPSON 
Boston,  Mass. 

Praise  Ye  the  Lord. 

Anthem  for  mixed  voices,  Tenor  or  Soprano 
solo.  (Orchestra  parts  may  be  had  for  this 
work.) 


CARL  FISCHER 

New  York,  N.  Y. 

Evening  Prayer.    Piano  or  Organ. 

Arranged  for  string  quartette.    Parts. 

Air  de  Ballet. 

Arranged  for  Military  Band.    Parts. 


American  Composer  49 

F.  R.  DAVIS,  ALTON,  ILLINOIS 
I  Know  That  She  Is  Mine. 

A  sweet  melody  wedded  to  pretty  words,  for 
the  medium  voice. 


MINIM  PUBLISHING  CO. 

Cheltenham,  England. 
Fear  Not,  For  Behold. 

A  Christmas  anthem  for  solo  alto  and  five  part 
chorus.  Melodious,  bright,  and  written  in  a 
joyous  strain.    It  may  be  made  very  effective. 

Lord,  Thou  Hast  Heard. 

A  quartette  and  chorus  for  small  choirs. 
Short   and   extremely   musical.  —  Gloucester 
Citizen. 

With  an  unassailable  position  in  his  profession,  a 
composer  of  much  fine  Church  music,  Mr.  Armstrong 
has  been  one  of  the  pillars  of  music  in  the  West.— 
Concert-Goer,  New  York. 


The  works  were  rendered  with  marked  care  and 
great  effect  by  Mr.  W.  D.  Armstrong,  one  of  Dr. 
Garrett's  pupils.— London  Musical  Times. 

A  composer  and  organist  of  note.— Chicago  Tribune. 

Shurtleff  College  is  singularly  fortunate  in  the  per- 
sonel  of  its  faculty.  All  of  its  members  are  strong  and 
scholarly  men.  Of  recent  years  a  new  department  of 
the  institution  has  grown  to  vigorous  life  under  the  care 
of  a  talented  specialist.  The  Shurtleff  School  of  Music 
is  indebted  for  its  present  prosperity  almost  entirely  to 


50  William  Dawson  Armstrong 

the  devoted  labors  and  exceptional  musical  gifts  of  its 
director,  William  D.  Armstrong. — College  Review. 


Mr.  W.  D.  Armstrong,  Musical  Director  of  Shurt- 
leff  College,  gave  one  of  the  best  recitals  of  the  season 
at  the  Chatauqua  Assembly  today.— St.  Louis  Republic. 


A  splendid  program  was  presented  at  Monticello 
Seminary,  Godfrey,  111.,  by  Mr.  W.  D.  Armstrong. 
The  numbers  were  thoroughly  appreciated  by  all. — 
Kunkel's  Musical  Review,  St.  Louis. 


ShurtlefF  College,  Alton,  Illinois,  a  Baptist  institu- 
tion of  learning,  eighty-one  years  old,  is  perhaps  the 
oldest  in  the  Mississippi  Valley.  Music  has  always 
been  encouraged  here  in  some  degree.  Thirteen  years 
ago  a  regular  school  of  music  was  established.  Prof. 
W.  D.  Armstrong,  the  composer,  has  been  director  ot 
it,  and  success  has  followed  his  efforts. 

Alton  has  25,000  inhabitants,  and  is  identified  with 
Lucy  Larcom,  the  poet,  Charles  Edgebert  Craddock, 
novelist,  the  Lovejoy  incident  (recently  commemorated 
by  a  fine  monument),  Mrs.  Charles  B.  Rohland  and  W. 
D.  Armstrong. 

Mr.  Armstrong  is  a  young  American  musician 
whose  compositions  have  been  published  by  several 
leading  firms  in  the  United  States  and  England. — Miss 
Fannie  Edgar  Thomas  in  Musical  Courier,  New  York 
City. 


American  Composer  51 

THE  RUDIMENTS  OF  MUSICAL  NOTATION 

AN  ELEMENTARY  HANDBOOK 

to  which  is  added  a  brief  glossary  of  musical  terms. 

PREFACE 

A  simple  brief,  compact  statement  of  the  Rudiments 
of  Musical  Notation,  the  author  here  presents  in  hope 
that  such  a  handbook  will  be  of  service  to  a  large  num- 
ber of  teachers  and  pupils.  To  that  end  it  has  been 
kept  consistently  elementary  in  character,  but  touches 
on  all  points  which  are  believed  to  be  essential  to  a 
rudimentary  knowledge  of  musical  terms,  which  the 
standard  treatises  on  music  do  not  afford  in  a  form  to  be 
of  use  to  beginners. 

Published  by 
SILVER,  BURDETTE  &  CO. 
New  York      Boston     Chicago 


"  I  like  your  Rudiments  of  Musical  Notation  very 
much;  the  book  presents  the  valuable  and  indispensable 
material  in  condensed  and  concise  form,  and  all  the 
definitions  and  explanations  are  lucid  and  easily  under- 
stood; it  will  prove  a  welcome  help  to  all  teachers." 

Emil  Liebling,  Chicago,  111. 


"  I  desire  to  congratulate  you  most  heartily  for 
placing  before  the  musical  public  such  an  excellent 
little  work.  It  is  concise,  to  the  point,  clear  and  com- 
prehensive. The  examples  given  completely  illustrate 
the  various  definitions. 


52  William  Dawson  Armstrong 

"The  manner  in  which  it  is  issued  is  attractive. 
Altogether  it  is  a  text  book  which  every  student — 
young  or  old — should  have  at  hand  ready  for  reference." 

Ernest  R.  Kroeger, 
Musical  Director  of  Forest  Park  University, 

St.  Louis,  Mo. 


DEDICATION  OF  THE  LOVEJOY  MONUMENT 

November  8,  1907. 
Following  the  presentation  of  the  monument  came 
the  singing  of  two  verses  of  Emerson's  famous  hymn, 
written  to  commemorate  the  erection  of  a  monument  at 
Concord  to  mark  the  spot  where  the  first  armed  resist- 
ance was  made  to  British  oppression  in  America.  While 
its  local  allusions  were  not  applicable  to  the  present 
occasion,  the  spirit  and  sentiment  embodied  were  those 
the  Association  desired  to  perpetuate.  The  hymn  was 
sung  to  original  music,  by  Prof.  W.  D.  Armstrong,  of 
this  city.  The  music  is  a  classical  composition,  well 
fitting  the  words,  which  are  as  follows: 

On  this  green  bank,  by  this  soft  stream, 
We  set  today  a  votive  stone, 
That  mem'ry  may  their  deeds  redeem 
When,  like  our  sires  our  sons  are  gone. 

Spirit  that  made  these  heroes  dare 
To  die,  and  leave  their  children  free, 
Bid  Time  and  Nature  gently  spare 
The  shaft  we  raise  to  them  and  thee. 

— Daily  Republican. 

All  were  struck  with  the  beauty  of  the  original 
music  composed  for  Emerson's  Concord  hymn,  by  W. 
D.  Armstrong.  It  adds  another  wreath  to  the  laurels 
he  has  already  won  as  a  composer. — Daily  Telegraph. 


American  Composer  53 

Mr.  W.  D.  Armstrong. 

Dear  Sir:    At  the  last  meeting  of  the   Lovejoy 
Association  a  unanimous  vote  was  extended  to  Mr.  W. 
D.  Armstrong  and  the  chorus  who  so  kindly  provided 
the  music  for  the  dedication  services. 
Respectfully, 

W.  T.  Norton,  Sec'y. 

THE  SPECTERBRIDEGROOM 
The  book  is  written  by  A.  E.  Hellmers  of  this 
city,  the  main  incidents  being  taken  from  Washington 
Irving's  sketch,  "The  Specter  Bridegroom."  The 
lyrics  are  extremely  pretty  and  graceful,  and  the  music 
composed  by  W.  D.  Armstrong  is  bright,  sparkling  and 
interesting.  Mr.  Armstrong  has  availed  himself  of  the 
opportunity  afforded  by  the  book  for  effective  choruses. 
All  the  recitative  work  for  soloists  is  far  above  the 
average,  the  scene  in  the  monastry  between  Walter, 
Raoul  and  the  Friar,  being  of  a  most  superior  nature 
musically.  The  principal  vocal  numbers  fall  to  the 
soprano,  who  has  some  excellent  solos  in  the  first  act, 
and  a  solo  in  the  third  act  which  is  one  of  the  gems  of 
the  work.  To  the  tenor  fall  some  effective  solos  full  of 
expression  and  fire,  and  there  is  a  remarkably  fine  duet 
for  soprano  and  tenor  in  the  third  act. — A.  C.  Wegman 
in  Mirror,  St.  Louis,  Mo. 


Last  Monday  evening  at  the  Fourteenth  Street 
Theatre  The  Specter  Bridegroom  was  presented  for 
the  first  time  before  one  of  the  most  fashionable  aud- 
iences ever  assembled  in  this  city.  Mr.  Armstrong 
writes  like  one  who  knows  how,  and  many  of  the  num- 
bers were  interesting. — H.  W.  Moore  in  Globe  Demo- 
crat, St.  Louis. 


54  William  Dawson  Armstrong 

The  Specter  Bridegroom  was  presented  last  night 
at  the  Fourteenth  Street  Theater.  All  the  boxes  were 
filled  with  fashionably  dressed  society  and  music  lovers, 
and  not  a  seat  was  vacant  in  the  house.  The  opera  is 
said  by  the  St.  Louis  papers  to  have  been  a  great  suc- 
cess and  reflected  much  credit  upon  the  ability  of  the 
composer. — Daily  Telegraph. 


The  Specter  Bridegroom  scored  a  marked  success 
in  its  initial  performance  in  St.  Louis  last  evening.  In 
the  cast  were  Mrs.  Charles  Van  Studdiford,  Wm. 
Porteous,  and  Mrs.  James  L.  Blair.  The  costumes  and 
stage  settings  were  beautiful.  The  whole  production 
woven  with  the  melodies  of  the  composer,  Mr.  W.  D. 
Armstrong,was  very  artistic  and  effective. — Republican. 


An  event  of  more  than  ordinary  interest  occurs  on 
Monday  evening  next,  when  a  new  work  by  Mr.  W.  D. 
Armstrong  will  be  presented  in  St.  Louis.  His  well 
merited  position  as  a  composer  has,  according  to  critics, 
been  more  than  sustained  in  this  finest  effort,  The 
Specter  Bridegroom. — Sentinel-Democrat. 


LETTERS 


MR.  E.  R.  KROEGER, 
St.  Louis,  Mo. 

St.  Louis,  May  21,  1886. 
Friend  Kroeger : 

This  will  Introduce  to  you  Mr.  W.  D.  Armstrong  from  Alton,  111. 
He  desires  lessons  in  Harmony  and  Composition.    You  will  see  by  his 
exercises  that  he  possesses  talent  for  Composition  in  a  high  degree. 
Hope  you  can  make  time  for  him  and  take  him  in  your  charge. 
Yours  sincerely, 

CHARLES  KUNKEL. 

Chicago,  111.,  June  16, 1891. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:— 

Your  songs  are  accepted  for  the  Illinois  Composers'  night,  (which  I 
think  will  be  Wednesday).  Can't  you  find  some  one  in  your  section  of 
the  country  to  sing  them,  we  will  provide  accompanist  if  desired.  You 
should  find  some  one  down  there  and  rehearse  them  yourself,  so  that 
they  may  be  given  as  you  wish. 

Yours  very  truly, 

FREDERICK  GRANT  GLEASON, 

Secy. 

St.  Louis,  Aug.  3rd,  1891. 
DR.  A.  A.  KENDRICK, 
Upper  Alton,  111. 
I  understand  that  Mr.  Wm.  Armstrong  is  going  to  take  charge  of 
the  musical  department  at  your  college  this  year.  I  take  special  pleasure 
in  congratulating  you,  upon  this  move  on  your  part,  if  I  am  correctly 
informed,  in  as  much  as  I  know  Mr.  Armstrong  to  be  a  thorough 


58  William  Dawson  Armstrong 

musician  and  an  energeric  young  man  endowed  with  talent  of  a  high 
order. 

I  can  frankly  say  that  Mr.  Armstrong  is  head  and  shoulders  above 
ninety-five  out  of  every  hundred  musicians  and  teachers  of  music  in  the 
country,  who  enjoy  good  reputations. 

Yours  truly, 

CHARLES  KUNKEL. 

MR.  W.  D.  ARMSTRONG,  Chicago,  111.,  Feb.  14,  1895. 

Alton,  111. 
My  Dear  Mr.  Armstrong : — 

I  am  just  in  receipt  of  your  Ballad  "  Cephalus  and  Procris,"  and 
while  thanking  you  for  remembering  me,  I  congratulate  you  upon  your 
charming  setting  of  this  very  pretty  poem.  There  are  some  exceedingly 
nice  effects  in  it,  and  the  work  will  doubtless  find  ready  appreciation. 
It  will  make  a  most  grateful  program  number. 
With  kind  regards,  I  am, 

Yours  cordially, 

CLARENCE  EDDY. 

MR.  WM.  D.  ARMSTRONG,  Chicago,  Sept.  13, 1897. 

Alton,  111. 
My  dear  Mr.  Armstrong  : — 

Your  composition  is  at  hand ;  please  accept  my  sincere  appreciation 
of  the  Dedication.  The  Opus  is  very  interesting  and  melodious  and 
speaks  well  for  your  ability. 

I  take  pleasure  in  complying  with  your  request  and  send  the  photo. 
Sincerely  yours, 

EMIL  LIEBLING. 


Boston,  Mass.,  June  17,  1898. 
My  dear  Sir:— 

I  intended  writing  you  before  leaving  St.  Louis  to  say  that  your 
work  as  organist  has  been  entirely  satisfactory  and  the  Trustees  would 
be  glad  to  have  you  continue  for  another  year,  rate  as  before.  Please 
advise  me  if  this  is  agreeable  to  you. 

Very  truly  yours, 

GEO.  O.  CARPENTER,  Chairman, 
Prof.  Armstrong,  Board  of  Trustees. 

Alton,  111. 


American  Composer  59 

TRINITY  PARISH 
St.  Chrysostom's  Chapel 

MR  WM.  D.  ARMSTRONG,  New  York-  June  25, 1898. 

Alton,  111. 
My  dear  Mr.  Armstrong  : — 

It  is  pleasant  to  be  remembered,  and  I  recollect  well  our  meeting  in 
Quincy  at  what  seems  such  a  long  time  ago. 

I  have  by  me  some  little  pieces  you  gave  me,  which  I  play  over 
now  and  then,  they  have  such  a  good  feeling,  and  use  such  simple 
means  for  a  correct  and  pleasing  effect. 

Your  Organ  Album  reached  me  this  moming  with  your  letter,  and 
I  was  so  intent  looking  at  the  music  that  I  found  myself  and  it,  showered 
all  over  by  a  hose  playing  in  Bryant  Park,  but  as  the  water  was  clean 
and  for  a  good  purpose,  we,  the  music  and  myself  were  not  much  injured 

I  like  the  Andante  Religiose,  and  the  Cantilene  Nuptial,  much  the 
best, — the  latter  especially  is  graceful. 

If  you  could  send  me  the  cutting  from  the  Alton  paper  where  I  was 
mentioned,  it  would  oblige  me.  It  was  my  first  visit  to  Alton  for  many 
many  years,  and  it  required  a  little  courage  to  make  it,  for  changes 
occur,  and  one  seems  doubly  a  stranger  where  there  are  no  links  visible 
with  the  past,  and  no  friendly  voice  to  greet  one.  it  was  all  so  pleasingly 
different  that  I  was  delighted.  It  would  have  been  an  additional 
pleasure  to  have  seen  you  once  more.  I  well  remember  your  pleasing 
personality  which  so  attracted  me. 

I  hope  something  will  bring  you  to  New  York  for  a  visit  some  time, 
it  would  be  a  pleasure  to  see  you. 

I  send  you  a  little  volume  which  you  may  have  seen — a  collection 
of  my  letters  from  the  "  Living  Church." 

With  thanks  for  your  kind  favor,  and  with  pleasantest  recollections 
of  our  meeting, 

I  am  ever  faithfully,  yours, 

CANON  J.  HARRIS  KNOWLES. 

MR.  W.  D.  ARMSTRONG,  Paris,  November  25, 1898. 

Alton,  111. 
My  dear  Mr.  Armstrong : — 

Your  letter  of  Sept.  6th  and  your  Organist's  Album  reached  me 
only  a  few  days  ago.    Please  accept  my  very  best  thanks. 

I  send  you  with  this  the  last  photographs  available  of  myself,  and 


60  William  Dawson  Armstrong 

hope  you  will  not  object  to  the  hat ! 

Your  series  of  compositions  in  the  "Organists'  Album"  ought  to 
meet  with  wide  favor,  as  they  are  interesting  and  effective  without 
making  excessive  demands  upon  the  player. 

I  am  quite  well  I  thank  you,  and  hope  you  are  also. 

Two  weeks  from  next  Wednesday  I  sail  from  Cherbourg  on  the 
Kaiser  Wilhelm  der  Grosse,  and  expect  to  be  in  New  York  on  the  29th. 
My  address  there  is  1123  Broadway,  care  Low's  Exchange.  I  expect  to 
concertize  in  America  from  Jan.  1st  to  May  1st,  when  I  return  here.  My 
American  manager  is  Mr.  Kirby  Chamberlain  Pardee,  Fine  Arts  Build- 
ing, Chicago. 

Yours  very  truly, 

CLARENCE  EDDY. 


MR  W.  D.  ARMSTRONG,  St.  Louis,  Mo.,  Mar.  24, 1899. 

Alton,  I1L 
My  dear  Mr.  Armstrong  :— 

The  Union  Musical  Club  desires  to  thank  you  most  sincerely,  for 
the  generous  work  which  you  gave  for  the  last  concert,  March  18th. 

If  at  any  time  we  can  be  of  service  to  you  in  any  way,  please  com- 
mand us ;  and  I  take  great  pleasure  here,  in  sending  you  my  card  as 
entrance  to  all  of  the  concerts  we  may  give  at  the  May  festival. 
Very  sincerely  yours, 

EVA  P.  MOORE,  President 

MR.  WM.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong  :— 

I  want  to  personally  thank  you  for  your  work  yesterday.  It  seemed 
to  me  most  effective  and  artistic,  I  feel  that  the  whole  program  went  off 
with  eclat  I  feel  that  Chorus — Soloists  and  Organist  and  Pianist  were 
in  complete  sympathy— and  that  a  very  noble  reading  was  given  the 
Mass. 

Mrs.  Schmidt  spoke  in  the  highest  terms  of  it  all,  so  it  makes  no 
difference  what  the  critics  say  of  it.  We  know  it  was  good  and  effective. 
I  cannot  repeat  to  you  all  the  good  things  that  were  said  by  good  people 
like  Miss  Sawyer,  Miss  McClanahan,  Miss  Ralston,  Mrs.  Green,  Mr. 
Dimmock,  Mr.  Wegman  and  dozens  and  dozens  of  the  congregation.  It 
took  and  told.    We  don't  care  for  that  so  much,  we  know  we  did  not 


American  Composer  61 

slight  it  and  we  were  in  moods  and  you  played  beautifully.  This  per- 
formance was  miles  ahead  of  our  Pergolesi.  I  was  out  of  mood,  my 
soloists  were  sick,  not  in  best  form  and  two  men  talked  a  low  steady 
stream  of  sound  at  my  elbow — enough  to  throw  all  inspiration  to  the 
winds.  I  feel  we  all  had  inspiration  yesterday  and  it  was  all  right,  and  I 
have  only  thanks  and  praise  to  you  for  your  aid  and  great  aid  in  the 
result 

Mrs.  Leverett  will  send  you  a  check  this  week. 
Yours  sincerely, 

CORA  D.  ROHLAND. 
March  19,  A.  M.  1899. 

MR.  W.  D.  ARMSTRONG,  St.  Louis.  Mo.,  Sept.  7,  1899. 

Alton,  111. 
Dear  Prof.  Armstrong : — 

Your  note  of  yesterday  is  at  hand.  I  hope  we  shall  be  able  to 
arrange  what  you  like,  for  as  I  can  see,  it  will  be  an  immense  improve- 
ment for  you.  I  am  delighted  at  the  prospects  of  the  School  of  Music, 
you  deserve  splendid  success — I  hope  you  are  wishing  well  for  my 
"School  of  Theology"? 

I  understand  everybody  is  hopeful  over  the  prospects — what  a 
splendid  thing  it  would  be  to  have  a  rousing  attendance. 

I  hope  to  be  up  on  Monday  to  spend  most  of  my  time  on  the  ground. 
Yours  very  truly, 

A.  A.  KENDRICK. 


MR.  W.  D.  ARMSTRONG,  New  York,  Dec  6, 1899. 

Alton,  111. 
My  dear  Mr.  Armstrong : — 

Many  thanks  for  your  kind  remembrance.  I  enjoyed  the  Choral 
Mass  for  its  very  limitations,  and  was  pleased  with  the  way  in  which 
you  got  some  good  bits  of  melody  in  the  "  Benedictus  "  and  "Agnus  Dei" 
without  unnecessary  length. 

I  enclose  a  few  verses  of  a  Western  flavor,  by  omitting  the  third 
stanza  it  might  be  singable. 

I  hope  we  shall  meet  when  you  come  to  New  York,  and  if  I  can 
be  of  any  use,  please  command  me. 

I  shall  have  the  pleasure  of  sending  you,  in  a  day  or  two,  a  little 
Christmas  remembrance  from  myself. 


62  William  Dawson  Armstrong 

Remember  me  to  the  Bluffs,  and  the  Mississippi,  and  the  meeting 
of  the  Great  Waters  near  you. 

Yours  ever, 

CANON  J.  HARRIS  KNOWLES. 
Feb.  19,  1900. 


En  route  San  Francisco  to  Portland,  Oregon. 
MR.  WM.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong : — 

Many  thanks  for  your  letter,  and  the  copy  of  your  organ  march, 
which  you  have  dedicated  to  me.  It  is  easy,  practical  and  effective  and 
it  will  undoubtedly  meet  with  great  favor, 

I  expect  to  play  in  St.  Louis  again  the  last  of  next  month. 
Yours  sincerely, 

CLARENCE  EDDY. 

Springfield,  111.,  Bishop's  House. 
MR  W.  D.  ARMSTRONG,  May  29,  1900. 

Alton,  111. 
My  dear  Mr.  President : — 

I  feel  greatly  honored  by  your  invitation.  How  much  I  shall  enjoy 
your  convention  June  18-21,  and  being  present  as  a  guest  under  your 
gracious  presidency.  Unfortunately  I  am  under  engagement  to  be  at 
Annapolis,  Md.,  on  the  18th  June,  to  take  part  in  the  exercises  of  the 
Commencement  of  St.  John's  College  on  that  day.  I  am  really  sorry,  I 
assure  you,  but  it  cannot  be  helped.  With  my  best  wishes  for  your 
Association  and  its  excellent  President,  I  remain  gratefully  yours, 

GEORGE  F.  SEYMOUR. 
Excuse  my  pamphlets  or  rather  tracts,  which  I  enclose,  I  send  such 
to  those  whom  I  highly  regard,  as  love  tokens. 

G.  F.  S. 

HILLCREST 
Petersboro,  New  Hampshire  Sept  18,  1900. 

MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Sir: — 

I  will  have  sent  to  you  the  announcement  of  the  Columbia  Music 


American  Composer  63 

Dept.  which  I  believe  covers  your  inquiries. 

Permit  me,  however,  that  in  my  opinion  a  man  who  has  already 
taught  theory  and  history  and  has  written  both  vocal  and  instrumental 
music  should  be  his  own  master.  As  you  know,  there  are  no  recipes 
for  converting  a  student  into  a  poet,  and  once  the  student's  training 
over,  help  must  come  from  within.  A  winter  in  New  York  or  Boston 
(preferably  the  latter)  might  be  invaluable  to  you  but  set  study  with 
any  one  I  should  not  advise.    Believe  me, 

Yours  truly, 

EDWARD  MAC  DOWELL. 


MR.  WM.  D.  ARMSTRONG  Philadelphia,  Pa.,  May  20,  1901. 

Alton,  111. 
Dear  Sir:— 

On  behalf  of  the  program  committee,  I  invite  you  to  read  a  five  or 
eight  minute  paper  at  the  Round  Table  discussion  for  Piano  teachers  at 
the  coming  M.  T.  N.  A.  meeting. 

Will  you  let  me  know  what  subject  you  prefer  to  take,  so  that  I 
can  print  it  in  program.     I  hope  you  will  assent  to  this  request.    We 
are  also  expecting  you  at  the  delegate  meeting  July  2,  as  there  will  be 
some  important  matters  to  be  settled  at  that  time. 
Hoping  to  have  a  favorable  answer  soon,  I  am, 
Yours  truly, 

A.  L.  MANCHESTER. 

ILLINOIS  STATE  TEACHERS'  ASSOCIATION 

Alton,  111.,  Oct.  21,  1902. 
Dear  Friend : — 

The  coming  session  of  the  Music  Section  of  the  Illinois  State 
Teachers'  Association  will  be  one  that  will  be  of  interest  to  every  one 
connected  with  the  teaching  of  music  in  all  the  Colleges,  Conservatories 
and  Public  Schools  throughout  the  state. 

Excellent  papers  will  be  read  on  timely  topics  by  capable  authori- 
ties, and  general  round-table  discussions  will  be  a  special  feature. 

Mr.  Wm.  L.  Tomlins,  the  eminent  conductor  and  teacher,  will  have 
an  address  before  the  general  convention.  We  are  confident  that  this 
announcement  alone  will  attract  the  attention  of  all  teachers. 

Mr.  Frederick  Root,  of  Chicago,  will  have  a  paper  on  "  The  Voice 
and  Vocal  Music." 


64  William  Dawson  Armstrong 

Your  co-operation  is  earnestly  requested,  in  order  that  we  may  meet 
together  to  spend  some  time  in  friendly  intercourse,  and  become  better 
acquainted. 

Programs  containing  complete  details,  will  be  available  next  month. 
Yours  fraternally, 

W.  D.  ARMSTRONG,  President. 
MRS.  PAULINE  R.  MANTLE, 

Chairman  Executive  Committee. 


Chicago,  Oct.  24,  1902. 
PROF,  WILLIAM  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sin- 
By  virtue  of  the  power  invested  in  me  by  the  Constitution  of  the 
Music  Teachers'  National  Association,  I  take  pleasure  in  offering  you 
the  Vice-Presidency  of  the  Music  Teachers'  National  Association  for  the 
state  of  Illinois  for  the  present  year,  1902-1903. 

In  urging  you  to  accept  the  same,  I  desire  to  call  attention  to  the 
fact  that  the  Association  is  entering  upon  its  twenty-fifth  year  of  exist- 
ence and  that  the  next  meeting  at  Asheville,  N.  C,  will  be  its  quarter- 
centennial.  The  importance  of  this  event  in  the  music-life  of  our 
country  will  be  kept  in  view  in  preparing  the  programs,  and  the 
Association  needs  its  strongest,  most  enthusiastic  and  loyal  supporters 
in  working  up  interest  and  membership  in  the  various  states.  I  am  sure 
that  the  educational  policy  of  the  Association  has  appealed  to  you  and 
that  its  officers  can  count  upon  your  active  interest  and  co-operation  in 
making  the  next  meeting  the  most  successful  in  the  history  of  the 
Association. 

May  I  not  ask  for  an  early  reply?  Trusting  it  will  be  in  the 
affirmative,  I  remain, 

Yours  very  truly, 

ROSSETER  G.  COLE, 

Pres.  M.  T.  N.  A. 

MR.  W.  D.  ARMSTRONG,  St.  Louis,  Mo.,  Jan.  6,  1903. 

Alton,  111. 
My  dear  friend  Armstrong: — 

I  returned  from  my  Eastern  jaunt  late  Saturday  night,  and  found 
your  letter  awaiting  me.    The  program  of  the  dedication  exercises  was 


American  Composer  65 

gone  over  today  by  Mr.  Markham  and  myself.  There  are  to  be  three 
choral  numbers,  such  as  "  The  Heavens  are  Telling,"  "  Hallelujah 
Chorus."  A  "  Jefferson  March "  opens  the  program,  but  the  composer 
has  not  been  definitely  decided  upon  as  yet.  A  brass  band  of  100  pieces 
will  furnish  the  instrumental  music. 

I  am  glad  the  Convention  proved  to  be  such  a  success.  The 
Chicago  men  spoke  highly  of  your  work  with  the  Illinois  Association 
to  me. 

With  best  regards  to  your  family,  I  am,  as  ever, 
Yours  very  truly, 

E.  R.  KROEGER. 


MR.  ARMSTRONG—  Detroit,  Mich.,  Jan.  31,  1903. 

Alton,  111. 
My  dear  Sir : — 

Thank  you  for  sending  me  some  of  your  late  compositions.    I  have 
come  across  some  of  your  previous  works  (Kunkel  Bros.)  and  admired 
them  very  much,  they  are  interesting,  modern  and  very  good  teaching 
material  and  for  this  reason  shall  use  them  in  the  school. 
Fraternally  yours, 

FRANZ  A.  APEL. 


PROF.  WM.  D.  ARMSTRONG, 

Alton,  111. 
My  Dear  Bro. — 

A  thousand  thanks  for  your  beautiful  and  characteristic  tribute  to 
my  dear  wife.  It  seems  very  fitting,  and  surely  to  be  remembered  by 
you,  in  one  of  your  contributions  to  the  worship  of  the  Church,  would 
have  been  most  pleasing  to  her.  I  assure  you  that  we  all  appreciate 
your  fine  and  delicate  memorial  to  our  dear  departed  most  highly. 
Trust  that  both  yourself  and  your  mother  are  much  better. 
The  Lord  be  with  you  all — I  am  your  brother,  and  great  debtor. 

H.  M.  CHITTENDEN, 

St.  Paul's  Rectory, 
Alton,  111.,  Feb.  11th,  1903. 


66  William  Dawson  Armstrong 

FORTY-THIRD  GENERAL  ASSEMBLY 
State  of  Illinois 

Springfield,  111.,  Mar.  3, 1903. 
PROF.  W.  D.  ARMSTRONG, 

Alton,  III. 
Dear  Sir:— 

I  mailed  you  House  Synopsis  No.  6  last  week,  it  gives  you  the 
information  asked  for,  all  the  committees  of  both  houses.  I  am  told 
you  are  preparing  an  amendment  to  the  music  bill,  if  so  send  me  the 
amendment  this  week  and  I  will  lay  it  before  the  committee.  The 
reason  I  say  this  week  is  because  I  leave  next  week  on  a  committee  to 
visit  all  the  state  charitable  institutions  and  will  be  gone  ten  days.  I  am 
in  favor  of  the  bill  to  examine  music  teachers  the  same  as  school  teachers. 

Yours  truly, 

WM.  MONTGOMERY. 


THE  ETUDE. 

Philadelphia,  Pa.,  June  9,  1903. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir: — 

The  summer  season  is  now  at  hand  and  our  engraving  de- 
partment will  not  be  so  busy  so  that  if  you  could  send  us  some 
manuscripts  of  piano  compositions  that  would  be  suitable  for 
teachers'  use,  yet  at  the  same  time  available  for  recital  pur- 
poses, we  shall  be  very  much  pleased  to  have  a  chance  to  ex- 
amine them. 

We  are  now  making  an  effort  to  add  to  our  catalogue, 
some  pieces  from  the  best  known  American  composers,  and 
should  be  very  much  pleased  if  we  could  find  something  of 
yours  that  would  answer  our  purpose.  While  we  hope  that  every- 
thing you  send  in  will  be  attractive  melodically  and  otherwise 
to  the  average  recital  audience. 

We  hope  we  may  hear  from  you  at  an  early  date  and  that 
you  will  send  us  some  manuscripts  to  examine.  If  not  within 
the  next  week  or  so,  later  in  the  summer.  If  you  have  any- 
thing in  manuscript  at  the  present  time  or  that  you  could  put 


American  Composer  67 

in  shape  for  us  between  now  and  the  end  of  the  month,  we 
shall  be  especially  glad  to  receive  them  soon. 

Yours  truly, 

THEO  PRESSER. 

Chicago,  111.,  June  14,  1903. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

I  doubt  greatly  if  I  shall  be  able  to  be  at  the  Illinois 
State  meeting  this  week.  Will  you  kindly  bring  up  the  matter 
of  the  State  Associations  joining  with  the  Missouri  Association 
in  inviting  the  M.  T.  N.  A.  to  unite  at  St.  Louis? 

The  program  committee  requests  me  to  ask  you  if  it  would 
be  agreeable  to  you  to  act  as  accompanist  to  one  of  the  vocal 
soloists — Miss  Walters  of  Philadelphia. 

If  I  come  down  to  the  meeting  it  will  be  but  one  day — 
probably  Thursday — as  some  matters  here  demand  my  atten- 
tion. Hope  to  see  you  there. 

Yours  hastily, 

R.  G.  COLE. 
I  spoke  to  Spencer  about  the  association  appointing  three 
delegates  to  the  Senate  at  Asheville.    Walter  Spry  will  go  from 
Chicago,  also  Seeboeck — Who  would  be  a  third? 


Springfield,  Oct.  20,  1903. 
MR.  W  D.  ARMSTRONG, 

President,  Shurtleff  College  School  of  Music. 
Alton,  111. 
My  Dear  Sir:— 

Your  very  kind  favor  of  the  19th.  inst.  to  Governor  Yates 
to  hand.  In  reply  will  say  that  Governor  Yates  is  now  out  on 
a  speaking  tour  on  the  Illinois  Central  Road,  covering  twelve 
counties  during  the  week.  I  am  forwarding  your  favor  to  him 
to-day  with  other  mail. 

I  am  now  taking  up  the  matter  of  the  details  of  his  propos- 
ed itinerary  for  his  second  speaking  tour,  which  included  your 
city. 

Some  friends  of  the  Governor's  will  visit  Alton  and  other 


68  William  Dawson  Armstrong 

cities  on  the  proposed  route  and  consult  you  and  others  at 
Alton  as  to  the  arrangements  for  the  meeting.  I  wrote  these 
gentlemen  yesterday  telling  them  when  they  visited  Alton  to 
call  upon  you  as  well  as  Colonel  Jackson,  and  they  will  most 
certainly  do  so. 

For  your  information  I  am  enclosing  you  herewith  a  copy 
of  the  Governor's  second  itinerary,  which  of  course  is  subject 
to  change. 

Respectfully  yours, 

O.  M.  TERRY, 

Secretary  of  Campaign  Committee. 


Berkeley,  Cal.,  Nov.  22,  1903. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

I  enclose  copy  of  the  hymn,  which  I  had  have  done  weeks 
ago,  and  have  no  adequate  excuse  for  not  more  promptly  re- 
sponding to  a  valued  friend's  request. 

The  paper  is'nt  so  good  as  I  could  wish,  but  the  best  I  have 
now  of  the  size. 

I  was  glad  to  hear  from  you  by  yours  of  Oct.  11th.  and  of 
the  reopening  of  the  church  with  good  promise.  I  am  sure  you 
will  like  Mr.  Dodson,  and  he  you.  He  knows  more  of  music  than 
I,  but  cannot  value  your  service  more. 

I  wish  you  could  hear  and  see  our  new  pipe  organ;  is  not 
a  large  one,  but  as  large  as  our  church  will  bear,  and  beauti- 
ful in  tone  yes,  of  rare  quality,  more,  I  wish  I  might  hear  you 
play  on  it.  But  fortunately  we  have  a  good  organist,  a  woman 
of  excellent  taste,  too,  in  her  selections. 

Always  sincerely  yours, 

F.  L.  HOSMER. 


"O  Beautiful,  my  country", 

Be  thine  a  nobler  care 

Than  all  thy  wealth  of  commerce, 

The  harvests  waving  fair. 

Be  it  thy  pride  to  lift  up 


American  Composer  69 

The  manhood  of  the  poor; 
Be  thou  to  the  oppressed 
Fair,  freedom,  open  door. 

For  thee  our  fathers  suffered, 
For  thee  they  toiled  and  prayed; 
Upon  thy  holy  altar 
Their  willing  lives  they  laid. 
Thou  hast  no  common  birthright, 
Grand  memories  on  thee  shine; 
The  blood  of  Pilgrim  nations 
Co-mingled  flows  in  thine. 

O  Beautiful,  our  country, 

Round  thee  in  love  we  draw; 

Thine  is  the  grace  of  Freedom, 

The  majesty  of  law. 

Be  Righteousness  thy  sceptre, 

Justice  thy  diadem; 

And  on  thy  shining  forehead 

Be  Peace  the  crowning  gem. 

F.  L.  HOSMER. 


St.  Louis,  Mo.,  Dec.  22,   1903. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

In  reply  to  your  letter  I  would  say  that  Mrs.  Phillip  N. 
Moore  will  be  a  very  good  person  to  have  on  the  Executive 
Committee.  The  only  trouble  is  that  I  fear  she  has  too  many 
other  things  to  do  and  cannot  accept.  You  might  write  her 
and  ascertain  her  views,  and  explain  that  she  would  take  the 
place  of  Mrs.  Blair. 

I  have  considered  very  seriously  the  question  of  the  proper 
hall  for  the  next  M.  T.  N.  A.  meeting,  and  have  come  to  the 
conclusion  that  it  is  not  a  wise  plan  to  have  some  of  the  meet- 
ings away  down  town  at  the  old  Exposition  building  and  others 
out  at  the  Fair  Grounds.  Our  Bureau  of  Music  is  now  located 
in  the  Library  Building,  just  behind  the  Administration  Build- 


70  William  Dawson  Armstrong 

ing;  back  of  this  building  extends  the  Hall  of  Congresses 
which  will  seat  300  people.  I  believe  this  will  be  a  fine  place 
for  the  regular  meetings  of  the  Convention. 

I  also  would  recommend  that  the  Forest  Park  University 
Hotel  be  selected  as  the  official  hotel;  accordingly  all  of  the 
members  will  then  be  out  near  the  Exposition  during  the  en- 
tire time;  their  hotel  will  be  near  by,  the  Hall  of  Congresses 
and  Festival  Hall  are  located  in  the  grounds,  and  matters  can 
be  very  much  more  easily  managed  than  if  they  met  part  of 
the  time  down  town  and  the  rest  of  the  time  at  the  Fair 
Grounds. 

I  want  to  have  a  good  long  talk  with  you  and  Mr.  Pommer 
the  week  .after  Christmas,  and  trust  you  will  arrange  to  come 
down  here.  Mr.  Walter  Spry  has  also  signified  his  intention 
of  coming.  We  can  then  go  over  the  grounds  and  take  up  all 
of  these  matters. 

Kindly  remember  me  to  your  mother  and  sister,  and  believe 
me,  as  ever, 

Yours  very  truly, 

E.  R.  KROEGER. 


Philadelphia,  Pa.,  Dec.  30,  1903. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:— 

If  you  have  some  piano  compositions  or  even  some  songs 
that  you  would  like  us  to  consider,  this  will  be  a  very  good 
time  to  send  them  on.  On  account  of  getting  ready  to  move 
into  our  new  building,  we  have  been  a  little  slack  in  the  mat- 
ter of  publishing,  but  are  now  getting  ready  to  push  that  de- 
partment of  our  business  again,  and  we  shall  need  a  number 
of  effective  teaching  pieces,  melodious  and  not  too  difficult, 
dance  or  salon  form,  such  as  the  average  teacher  will  use.  We 
shall  be  pleased  to  have  a  chance  to  consider  some  of  your 
manuscripts  and  trust  you  will  be  in  a  position  to  send  some- 
thing to  us  now  or  soon. 

Yours  truly, 

THEO   PRESSER. 


American  Composer  71 

St.  Louis,  Mo.,  Jan.  27,  1904. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

I  enclose  herein  a  letter  from  Mr.  J.  J.  Grafton,  who  has 
the  management  of  the  Forest  Park  University  Hotel. 

I  favor  very  much  having  that  hotel  as  the  official  hotel 
of  the  M.  T.  N.  A.  I  trust  that  you  and  Mr.  Pommer  will  agree 
upon  it.   It  will  certainly  be  very  convenient. 

The  National  Educational  Association  will  meet  here  the 
same  dates  as  the  M.  T.  N.  A.  It  was  to  have  met  a  week  later 
but  the  Democratic  Convention  has  been  put  for  that  week. 
As  there  are  20,000  members  of  this  Society  they  will  of  course 
occupy  considerable  space. 

I  favor  having  our  morning  meetings  in  the  Recital  Hall, 
which  is  in  one  of  the  wings  of  Festival  Hall;  and  our  after- 
noon and  evening  meetings  in  either  Recital  Hall  or  Festival 
Hall,  or  both.  I  intend  to  put  these  dates  down  on  the  book  for 
that  purpose. 

The  Missouri  Music  Teachers'  Association  is  to  entertain 
the  M.  T.  N.  A.  the  first  day  and  I  think  you  had  better  com- 
municate with  Mrs.  W.  D.  Steele,  President  of  the  Missouri 
State  T.  A.,  Sedalia,  Mo.  I  have  recommended  her  to  Mr. 
a'Becket  to  take  the  place  of  Mrs.  Blair  on  the  Executive  Com- 
mittee in  case  the  latter  resigns.  She  is  full  of  life  and  energy 
and  will  make  a  good  member  of  the  Committee. 

With  best  wishes,  I  am, 

Yours  very  truly, 
E.  R.  KROEGER. 


Sturgis,  Mich.,  July  7,  1904. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

I  am  pleased  to  announce  that  I  have  a  letter  from  Mr. 
Elson  accepting  the  Presidency  of  the  M.  T.  N.  A.  for  1905. 
He  does  so  with  the  provision  that  he  shall  not  be  called  upon 
to   devote   too   much   time   to   correspondence   and   details.    It 


72  William  Dawson  Armstrong 

is'nt  because  he  wants  to  shirk  it  but  because  his  tifaie  is  so 
fully  taken  that  it  will  be  impossible  for  him  to  do  it. 

However,  that  new  resolution  transferring  a  large  part  of 
the  work  of  organization  to  the  Vice-President  will  relieve  him 
greatly.  You  can  protect  him  a  great  deal  and  I  am  sure  you 
will  do  it.  If  there  is  anything  that  I  can  do  at  any  time  to 
help  matters  out,  let  me  know  I  know  Mr.  Elson  quite  well  and 
may  be  able  to  make  some  suggestions. 

My  address  for  the  summer  is  Danville,  111.  c/o  Ed.  S.  Owen. 

Sincerely, 
HERMAN   E.   OWEN. 


Washington  University,  St.  Louis,  Sept.  2,  '04. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Armstrong: — 

I  thank  you  for  your  letter  and  for  the  paper  on  the  organ- 
ization of  a  Department  of  Music.  I  am  much  interested  in 
this  and  will  take  a  favorable  opportunity  to  talk  it  over  with 
the  Chancellor  and  the  officers  of  the  Board.  We  have  no 
musical  department.  It  goes  without  saying  that  we  need  one, 
and  incidentally  we  are  greatly  in  need  of  a  leader  of  the 
Glee  Club  and  of  the  University  Choir.  Taking  it  all  in  all 
you  seem  to  me  to  be  just  the  man  we  need. 

I  shall  expect  to  see  you  at  the  Church  of  the  Unity  in  the 
course  of  a  few  days.    I  have  just  got  back  from  the  coast  and 
have  hardly  got  my  University  legs  on  yet. 
Hoping  you  are  well,  I  remain, 

Very  sincerely  yours, 

C.  M.  WOODWARD. 


Madison,  Wis.,  Oct.  26,  1904. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong:  — 

I  have  heard  through  Mr.  Owen  that  Mr.  Elson  thinks  of 
declining  the  office  of  President  of  the  M.  T.  N.  A.  I  think  this 
would  be  a  serious  blow  for  the  success  of  the  coming  conven- 
tion, as  he  is  an  excellent  man,  is  well  known,  and  is  rightly 


American  Composer  73 

located  to  take  charge  of  the  meeting  In  New  York.  Then  I 
think  it  will  cast  a  damper  upon  the  enthusiasm  which  seems 
to  have  been  rising  in  regard  to  the  New  York  meeting.  The 
difficulty  seems  to  have  been  that  there  was  some  negligence 
in  officially  notifying  Mr.  Elson  of  his  election,  and  then  that 
Mr.  Manchester,  who  apparently  was  not  in  the  best  of  moods, 
seems  to  have  given  him  exactly  the  idea  of  the  amount  of  de- 
tail work  it  would  require.  My  understanding  at  the  St.  Louis 
convention  was  that  the  Vice  President  ought  to  be  responsible 
for  the  securing  the  delegates,  and  work  of  organization  prior 
to  the  meeting.  If  your  understanding  is  similar  to  this,  why 
I  think  a  note  from  you  to  Mr.  Elson  might  help  to  clear  up 
matters,  and  perhaps  induce  him  to  stick.  To  do  any  good  it 
would  be  sent  immediately,  Address  Louis  C.  Elson,  New  Eng- 
land Conservatory,  Boston. 

Yours  very  truly, 

F.  A.  PARKER. 


Boston,  Nov.    4,  1904. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

The  letter  dated  Nov.  1st.  is  the  first  I  have  received  from 
you.  The  other  two  must  have  gone  astray.  I  am  sincerely 
grateful  for  your  offer  of  co-operation.  But  I  feel  that  you 
ought  to  be  the  President.  The  most  that  I  could  do  in  this 
matter  is  to  preside  in  New  York,  and  make  a  few  speeches. 
I  have  not  time  to  organize  matters  for  the  meeting  and  I  have 
absolutely  declined  to  take  any  financial  responsibility  upon 
myself.  It  would  be  best  for  the  association  to  accept  my  de- 
clination and  make  you  the  chief.  I  have  stated  just  how  much 
I  can  do  as  president.  I  fancy  that  this  will  not  be  enough. 
Therefore  I  hope  that  you  may  be  made  the  presiding  officer 
in  the  place  of 

Yours  cordially, 

LOUIS  C.  ELSON. 
Address  either  at  above  or  at  New  England  Conservatory. 


74  William  Dawson  Armstrong 

Chicago,  111.,  Dec.  15,  1904. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Armstrong: — 

Have  you  been  (officially)  advised  that  the  M.  T.  N.  A. 
presidential  honors,  emoluments  and  burdens,  have  fallen,  or 
will  fall  upon  your  shoulders  for  the  coming  year? 

I  understand  that  Elson  declines  the  honor,  therefore  the 
above,  providentially,  happens,  I  suppose.  If  so  the  mantle 
could  not  strike  in  a  better  spot. 

Fraternally  Yours, 

H.  S.  PERKINS. 


New  York,  Jan.  31,  1905. 
MR.  W  D.  ARMSTRONG, 
Shurtleff  College, 

Upper  Alton,  111. 
My  dear  Mr.  Armstrong: — 

I  have  had  28  returns  from  your  circular  with  reference  to 
the  choice  of  a  president,  of  which  nine  were  for  Mr.  McDou- 
gall  and  six  for  yourself.  Mr.  Manchester  and  Mr.  Hamilton 
have  three  each,  and  there  is  quite  a  scattering  for  different 
members  of  the  Council — one  or  two  for  each.  Mr.  McDougall 
has  written,  withdrawing  his  name,  saying  that  he  felt  there 
was  so  much  uncertainty  as  to  the  legality  of  the  procedure 
that  he  did  not  wish  his  name  to  be  used. 

It  seems  to  me,  according  to  the  Constitution,  you  are 
legally  the  one  who  can  take  the  responsibility  of  the  presi- 
dency, and  I  think  your  suggestion  with  regard  to  having  Mr. 
Bowman  might  be  carried  out.  If  you  would  delegate  your 
power  to  Mr.  Bowman,  that  would  make  it  possible  for  the 
work  to  be  done  at  this  end  more  expeditiously.  I  have  had  a 
talk  with  Mr.  Bowman,  and  rather  think  that  with  some  urg- 
ing he  would  be  willing  to  undertake  the  work.  Mr.  Bowman 
thought  perhaps  Mr.  Elson  would  change  his  mind,  and  advis- 
ed writing  to  him,  but  this  has  not  proved  successful.  If  you 
think  best,  would  it  not  be  well  for  you  to  write  to  Mr.  Bowman, 
urging  him  to  act  in  your  place?  It  would  be  a  great  advantage 
to  have  a  president  right  in  the  city;  Mr.  Bowman  knows  the 


American  Composer  75 

society,  has  been  president  twice  before,  and  is  a  good  worker. 
As  things  stand  now,  it  would  be  impossible  for  the  Executive 
Committee  to  do  anything,  because  the  Constitution  requires 
four  for  a  quorum,  and  there  are  only  three  Eastern  members 
on  the  Committee.  I  am  unable  to  find  the  addresses  of  the 
two  other  members,  Mr.  William  C.  Carl,  and  Mrs.  Dr.  Peter- 
son; the  N.  Y.  directories  do  not  give  them.  If  you  know  how 
I  can  reach  them  I  hope  you  will  inform  me. 

The  question  as  to  the  legality  of  our  acts  must  be  settled 
before  we  can  go  ahead.  Let  me  know  at  your  earliest  con- 
venience what  you  think  of  this  proposition. 

I  was  very  glad  to  see  the  circulars  you  enclosed  in  a  former 
letter;  and  I  look  forward  with  pleasure  to  becoming  acquaint- 
ed with  you  the  coming  summer. 

I  enclose  a  leaflet,  stating  the  purpose  of  the  department 
work  here.  If  you  are  interested  in  the  Public  School  question, 
I  would  be  glad  to  send  you  a  copy  of  a  discussion  of  the  sub- 
ject, that  came  out  about  a  year  ago. 

With  best  wishes, 

Very  truly  yours, 
CHARLES  H.  FARNSWORTH. 


Columbia  University,  New  York,  Mar.  25,  1905. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Sir: — 

As  the  result  of  the  vote  for  the  president  of  the  Music 
Teachers  National  Convention,  the  responsibility  for  filling  the 
vacancy  fell  upon  Mr.  Armstrong,  the  Vice  President.  He  has 
asked  Mr.  E.  M.  Bowman  to  fill  the  place  as  acting  President. 
This  Mr.  Bowman  has  generously  consented  to  do.  Mr.  Carl 
G.  Schmidt,  the  organist,  has  consented  to  fill  the  place  of  one 
of  the  local  members  of  the  Executive  Committee. 

The  date  of  the  convention  has  been  placed  for  Wednesday, 
Thursday  and  Friday,  June  21st,  22nd  and  23rd.  The  early 
closing  of  the  New  York  season,  and  the  meeting  of  the  State 
Association  at  Rochester  the  following  week,  make  this  date 
preferable  to  a  later  one.  A  tentative  program  will  be  issued 
soon. 


76  William  Dawson  Armstrong 

As  was  suggested  in  the  invitation,  the  plan  of  the  meet- 
ing will  be  along  purely  educational  lines,  consisting  of  papers 
and  discussions,  with  a  strong  emphasis  on  the  social  side. 
Time  and  opportunity  will  be  given  for  the  members  to  meet 
each  other,  as  it  is  felt  that  this  is  the  most  valuable  part  of 
such  gatherings. 

Very  sincerely, 
CHARLES  H.  FARNSWORTH. 
Chairman  of  Executive  Committee. 


New  York,  Apr.  15,  1905. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Will  you  be  kind  enough  to  look  up  the  list  of  State  Vice 
Presidents  for  last  year  and  make  such  changes  in  the  list  as 
you  think  advisable  (sending  us  also  the  old  incumbent,  in 
case  of  change)  and  let  us  have  the  list  to  ajct  upon  at  our 
next  meeting  Monday  Apr.  24.  We  are  getting  on  with  the  pro- 
gram. We  are  working  it  this  way — the  only  way — in  my  judg- 
ment to  make  any  program,  namely;  make  up  program  first 
and  then  invite  the  participants  to  fill  it.  A  lot  of  people  have 
applied  for  place  on  the  program,  telling  us  what  they  would 
like  to  do  &c,  &c.  Such  a  program  has  no  point  or  coherence. 
Of  course  we  have  to  reply  diplomatically,  but  we  do  not  intend 
to  have  anyone  on  the  program,  who  is  not  prominent  in  his 
or  her  particular  line.  The  music  part  of  the  meeting  will  be 
in  the  nature  of  illustration,  not  of  performance  or  recital.  The 
Symphony  Orchestra,  Walter  Damrosch  will  be  going  at  that 
time  and  special  programs  will  be  served  no  doubt.  We  may 
possibly  have  a  Guild  of  Organists  Church  Service,  if  we  can 
get  them  to  do  it.  Or  in  lieu  of  that,  some  special  music  by  the 
Temple  Choir  or  Orchestra  at  my  church,  Sunday  following 
the  meeting.  We  are  formulating  a  circular  and  other  press 
notices  to  go  out  soon.  I  shall  now  have  a  little  more  time  to 
devote  than  hitherto;  have  been  up  to  my  ears  in  work. 

Very  truly  yours, 

E.  M.  BOWMAN. 


American  Composer  77 

Steinway  Hall,  New  York,  June  15,  1905. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong:  — 

I  write  to  say  that  the  program  has  finally  shaped  up  and 
that  the  people  have  praised  it  cordially.  We  have  an  ideal  place 
in  which  to  meet,  a  good  cheap  convenient  hotel,  and  some  good 
outside  features.  There  is  a  good  degree  of  interst  and  we  hope 
to  have  a  good  attendance.  Of  course  you'll  be  here  early  and 
bring  your  party  along.  We  intend  to  give  you  all  a  fine  time. 

The  advance  programs  have  been  sent  out  (3000  of  them) 
and  now  a  revised  edition  is  going  to  every  member. 

The  house  program  with  some  slight  revisions  will  be  print- 
ed tomorrow.  We  have  a  fine  lot  of  advertising  and  the  pros- 
pects are  that  we  will  be  able  to  pay  off  old  debts  and  clear  our 
this  years  expenses.    Kindest  regards. 

Yours  very  truly, 

E.  M.  BOWMAN. 


Berkeley,  Cal.  Sunday  Aug.  6,  1905. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Armstrong: — 

Yours  of  July  25,  with  its  tune  lists  reached  me  last  Mon- 
day, and  I  thank  you  very  much  for  it  all.  Of  the  three  friends 
to  whom  I  wrote  at  the  same  time,  you  gave  me  the  fullest  and 
most  satisfactory  reply,  and  I  appreciate,  and  thank  you  very 
much  for,  your  two  L.  M.  tunes,  "Hosmer"  and  "Brooks"  and  the 
privilege  of  using  them.  I  should  have  acknowledged  at  once, 
but,  as  you  know,  I  neither  sing  nor  play,  and  so  I  waited  to 
show  to  friends  here  and  have  them  play  for  me  the  two  origi- 
nals. First,  three  evenings  ago  to  a  gentleman  and  his  wife, 
both  musical,  he  plays  violin  and  she  piano,  and  they  know 
what  is  good  music.  They  liked  both  "Hosmer"  and  "Brooks" 
but  liked  the  first  best.  Our  church  opened  this  a.  m.  and  I  went 
early  to  show  the  organist  the  two,  and  ask  her  to  play  them 
for  me,  she  is  an  artist;  you  and  she  are  the  only  real  artists, 
professionally,  I  have  ever  had  at  the  organ  for  Sunday  serv- 


78  William  Dawson  Armstrong 

ice.  She  looked  over  the  ms,  and  said  "I'll  play  them  for  the 
two  responses"  in  the  service — after  the  prayers",  and  she  did, 
to  my  great  pleasure,  and  the  two  friends,  of  the  three  evenings 
ago,  at  once  recognized  them  and  liked  them.  The  organist 
played  softly,  at  "responses"  and  I  want  to  hear  them  again 
and  by  themselves.  She,  too,  liked  them,  but  liked  "Hosmer" 
the  better  of  the  two. 

We  have  a  fine  organ,  put  in  two  years  ago,  as  I  think  I 
wrote  you  at  the  time,  of  Murray-Harris  make,  of  Los  Angeles, 
not  large,  but  as  large  as  our  church,  (about  like  ours  in  St. 
Louis  for  size)  will  bear.  So  you  see  you  have,  in  a  measure, 
been  here  with  me  today;  I  wish  you  might  sometimes  be  with 
me  in  full  measure,  and  I  hear  again  your  fingers  on  the  keys — 
and  others  hear  too. 

Sincerely  and  gratefully, 
Your  friend, 

F.  L.  HOSMER. 


New  York,  Sept.  19,  1905. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  Dear  Sir: — 

I  have  the  catalogue  of  your  compositions  and  take  this 
opportunity  to  tell  you  I  have  used  your  works  on  many  occa- 
sions with  success. 

My  work  as  director  of  the  Classical  Seminary  for  young 
ladies  here,  gives  me  a  large  field  to  introduce  best  things  that 
are  good. 

Cordially  yours, 
ALBERT  MILDENBERG. 


St.  Louis,  Mo.,  Sept.  19,  1906. 
PROF.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Will:— 

I  am  late  in  acknowledging  receipt  of  your  very  kind  note 
and  the  music;  because  I  have  been  snowed  under,  (even  in 
this  hot  weather)   with  office  work  and  duties  at  home.    I  re- 


American  Composer  79 

ceived  the  music  just  in  time  for  Julia  and  me  to  try  it  over  a 
little  just  before  she  left,  and  I  think  it  is  one  of  the  best  things 
that  has  been  published  by  the  Choir  Journal,  although  we  have 
not  had  a  chance  to  put  a  full  quartet  on  it. 

Your  reference  to  the  old  days  came  to  me  very  pleasantly 
and  I  shall  always  be  glad  to  recall  the  times  when  you  and  I 
co-labored  and  held  together  a  double  quartet  and  chorus  choir 
at  different  times  and  always  without  a  miff. 

I  thank  you  for  the  dedication  and  appreciate  it  highly. 

Yours  very  truly, 

JNO.  F.  RANDALL. 


New  York  City,  Nov.  1,  1906. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:— 

I  am  using,  as  you  no  doubt  have  observed,  your  letters  to 
Young  Musicians  in  the  MUSICIAN. 

All  the  articles  save  number  1,  seemed  to  me  excllent.    I 
trust  you  will  be  willing  to  have  me  omit  No.  1  from  the  series. 

At  any  time  that  you  care  to  send  me  manuscripts  for  con- 
sideration, I  shall  be  glad  to  read  them. 

Very  truly, 
THOMAS  TAPPER. 


Arlington,  N.  J.,  Feb.  29,  1908. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

During  the  past  three  years  I  have  received  many  letters 
from  Organists  throughout  the  country,  asking  me  to  again  re- 
sume the  publication  of  the  Organists  Journal,  and  I  have  finally 
decided  to  do  so,  the  first  number  will  be  ready  early  in  April. 

I  wrote  to  ask  if  you  would  like  to  favour  me  with  an  oc- 
casional Organ  composition  or  arrangement,  for  publication  in 
the  Journal. 

I  would  like  to  have  your  name  identified  with  the  Journal 
as  it  was  some  years  ago  I  well  know  the  interest  which  you 


80  William  Dawson  Armstrong 

have  taken  in  Organ  matters  and  I  am  sure  that  a  work  of  this 
kind  will  merit  your  encouragement  and  support,  and  if  you  can 
do  anything  to  help  it  along,  I  shall  esteem  it  as  a  great  favour. 

I  enclose  herewith  a  circular  letter,  which  I  am  about  to 
send  out  to  all  of  our  former  patrons,  if  you  will  favour  me  with 
the  names  of  some  of  your  Organ  students  whom  you  think  will 
be  interested  in  this  work,  I  shall  be  glad  to  send  copies  to  them. 

And  if  you  know  of  any  good  Organ  composers  in  St.  Louis 
who  you  think  would  like  to  have  their  compositions  represent- 
ed, I  shall  be  glad  to  have  their  names.  I  want  to  make  a  spec- 
ialty of  original  American  composition  than  formerly. 

Hoping  to  hear  from  you,  I  remain, 

Yours  sincerely, 

WM.  E.  ASHMALL. 


Dorchester,  Mass.,  Apr.  30,  1908. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  Dear  Armstrong: — 

I  enclose  you  "Syllabus"  of  lectures  I  am  giving  at  Harvard, 
which  may  Interest  you.  They  may  sometimes  make  a  book,  but 
not  in  the  very  near  future.  I  recall  your  liking  of  some  briefer 
ones  I  gave  in  our  little  St.  Louis  church. 

I  think  I  shall  this  year  get  at  more  definite  work  on  the 
revision  of  our  little  "Unity  Hymns  and  Chorals",  and  if  so,  I 
hope  I  may  turn  to  you  for  some  helpful  suggestions  as  to  the 
music.  I  suspect  that  needs  more  revision  even  than  the  hymns. 
There  is  a  call  for  such  a  small  book,  if  only  well  adapted  to 
present  needs.  Even  the  old  form  is  now  in  some  49-59  churches, 
mainly  in  middle  West.  There's  no  "money"  in  it;  only  a  sort 
of  "missionary"  work. 

Always  sincerely  yours, 
F.  L.  HOSMER. 


Eureka  Springs,  Ark.,  Sept.  3,  1908. 
PROF.   WILLIAM   D.   ARMSTRONG, 

Alton,  111. 
Dear  sir: — 

I  wrote  to  know  if  you  would  consider  a  change  and  accept 


American  Composer  81 

the  position  of  Director  of  Music  in  Crescent  College.  Circum- 
stances over  which  we  have  no  control  make  it  necessary  for 
us  to  secure  a  man  to  take  the  place  of  whom  we  had  engaged 
to  be  our  Director  next  session. 

We  have  an  ideal  location  and  the  most  magnificent  build- 
ings and  equipment  of  any  school  for  young  ladies  in  the  South 
and  a  man  of  your  ability  would  be  able  to  build  up  a  fine  Con- 
servatory of  Music  here.  If  it  is  possible  for  you  to  consider 
this  place  at  this  late  date,  please  wire  us  immediately  and  fol- 
low by  letter,  or  if  you  will  come  here  and  look  the  field  over 
we  will  bear  half  of  your  expenses  or  all  if  we  close  the  deal. 
If  you  cannot  come  immediately  you  might  write  us  the  lowest 
salary  you  could  consider  for  the  first  year. 

We  are  sending  you  our  catalogue  by  this  mail  under  sep- 
arate cover  which  we  hope  you  will  receive  promptly. 

Yours  very  truly, 

CRESENT  COLLEGE, 

By  A.  S.  Maddox,  President 


Chicago,  Jan.  4,  1909. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir: — 

We  are  returning  today  by  mail  the  score  of  your  over- 
ture. It  will  be  agreeable  to  Mr.  Stock  to  place  it  on  one  of  the 
programs  in  Alton  in  May.  Please  see  that  we  have  a  copy  of 
the  score  and  the  necessary  parts  if  possible  by  April  1st. 

Yours  truly, 
THEO  THOMAS   ORCHESTRA, 

J.  F.  Wessels,  Manager. 


Berkeley  Cal.,  Feb.  4,  1909. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

I  send  you  inclosed  for  remembrance  and  greeting.    You 
see  I  want  to  keep  in  touch  with  you. 

I   went   East   last   April   to   give   a   course   of  lectures   on 


82  William  Dawson  Armstrong 

Church  Hymns  at  Harvard  University,  and  remained  in  New 
England  until  September.  I  was  a  week  with  the  Carpenters 
(St.  Louis)  at  their  summer  cottage,  off  the  Maine  Coast,  and 
there  learned  that  you  were  no  longer  organist  at  Unity  Church. 
I  am  sorry  for  the  little  Church.  You  were  the  best  organist  I 
have  ever  heard,  if  you  will  allow  me  to  say  so,  and  so  much 
in  sympathy  with  the  minister  and  services.  I  hope  all  goes 
well  with  you. 

Always  sincerely, 

F.  L.  HOSMER. 


Auburn  N.  Y.,  Mch.  8,  1909. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

I  thank  you  very  much  for  the  interest  you  take  in  my 
books.  I  will  send  the  circulars  to  Mr.  Schmidt  today.  I  have 
been  unfortunate  in  falling  from  my  wheel  about  three  months 
ago,  slightly  fracturing  my  hip.  I  am  almost  well  now,  although 
confined  to  my  crutches.  I  thank  you  for  your  circular.  My, 
but  you  are  industrious — I  know  your  music  is  first  class  and  I 
will  recommend  it  to  the  best  of  my  ability.  I  have  tacked  your 
picture  on  the  wall  in  my  studio  just  below  that  of  Beethoven. 
With  best  regards,  I  am  sincerely  yours, 

I.  V.  FLAGLER. 


Chicago,  111.,  Apr.  29,  1909. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  Dear  Armstrong: — 

Wont  you  talk  15  or  20  minutes  on  "The  Organ  and  the 
Organist"  to  come  between  Prof.  Smith's  essay  on  Church  Music. 
(He  is  at  the  head  of  music — Chicago  Theological  Seminary) 
and  Dunham's  organ  recital?  It  is  to  be  held  in  a  church — of 
course,  all  of  one  P.  M.  I  believe.  I  suggested  to  Mr.  Gott- 
schalk  the  fitness  of  having  an  organist  make  such  a  talk — as 
a  fitting  introductory  or  prelude. 

If  you  don't  want  to  write  a  conventional  essay — talk  about 
the  two  things — organ  and  organist — what  they  are  made  for 


American  Composer  83 

etc.   That  P.  M.  will  be  a  sacred  music  symposium — so  to  speak, 
one  or  two  vocal  numbers,  etc. 

Don't  wait  to  write,  but  telegraph  to  L.  G.  Gottschalk, 
Kimball  Hall,  Chicago,  at  his  expense.  I'm  helping  him  what  I 
can  as  his  experience  and  time  are  limited. 

Hoping  that  you  are  getting  in  physical  trim,  and  that  we 
shall  meet  then  and  there. 

Cordially, 

H.  S.  PERKINS. 


St.  Louis,  May  2,  1909. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

I  see  further  reference  to  the  "noble  house"  of  Armstrong, 
and  the  interest  of  Musical  Education"  generally  in  the  Alton 
section  in  Musical  Courrier  of  Apr.  29.  I  hope  that  the  paper 
may  know  that  this  is  appreciated,  so  that  they  will  let  me  con- 
tinue this  blessed  work — the  best  of  the  music  field — "Musical 
Education".  I  have  been  up  through  the  state  since  and  am  de- 
lighted with  the  universities  and  colleges.  Hoping  that  you  are 
feeling  the  aid  of  Omnipotence  in  restoring  strength,  I  remain 
yours  sincerely,  a  well  wisher, 

FANNIE  E.  THOMAS. 


Alton,  111.,  May  14,  1909. 
TO  W.  D.  ARMSTRONG,  ESQ.  OF  THE  CITY  OF  ALTON, 
IN  THE  COUNTY  OF  MADISON  AND  STATE 

OF  ILLINOIS: 
You  are  hereby  notified,  that  at  a  regular  meeting  of  the 
City  Council  of  said  City  of  Alton,  held  May  12th.  A.  D.  1909, 
you  were  duly  appointed  by  the  Mayor  of  said  City,  as  a  mem- 
ber of  the  Board  of  Education  of  the  said  City  of  Alton,  for  the 
term,  from  May  1st.  A.  D.  1909,  to  May  1st.  1911.  Said  appoint- 
ment was  unanimously  approved  by  the  said  City  Council. 

Given  under  my  hand  and  the  Corporate  Seal  of  the  said 
City  of  Alton,  this  14th.  day  of  May  A.  D.  1909. 

BART.  R.  KENNEDY. 
City  Clerk. 


84  William  Dawson  Armstrong 

St.  Louis,  Mo.,  May  18,  1909. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  Dear  Friend  Armstrong: — 

It  pleases  me  very  much  to  know  that  your  Overture  was 
so  well  played  and  so  well  received.  I  note  your  advice  re- 
garding getting  "too  busy".  You  are  quite  right,  Fortunately  I 
have  studied  conditions  for  some  time  and  realize  my  limita- 
tions pretty  well.  My  long  summer  vacation  and  my  trips  East 
in  the  Holidays  usually  brace  me  up  pretty  well.  I  expect  to 
spend  a  day  or  so  with  you  this  coming  July,  according  to  your 
kind  invitation,  and  we  can  then  have  a  good  old-fashioned  chat. 
I  am  so  glad  to  know  that  you  are  getting  back  into  shape  again. 
With  best  regards  to  you  and  yours,  I  am, 

Yours  very  truly, 

E.  R.  KROEGER. 


Upper  Alton,  111.  June  12,  1909. 
PROF.  WILLIAM  D.  ARMSTRONG, 

Alton,  111. 
My  Dear  Friend: — 

Your  resignation  as  Director  of  the  Shurtleff  School  of  Music 
has  been  presented  to  the  Executive  Committee,  and  regret- 
fully accepted. 

The  Executive  Committee  unanimously  request  that  you  re- 
main   upon    the    Shurtleff   Musical   Faculty,    for   such   work   as 
may  be  arranged  by  the  President  of  the  College. 
With  personal  esteem, 

Yours  very  truly, 

JNO.  LEVERETT,  Secy. 


Mackinac  Island,  July  27,  1909. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Your  letter  received  this  morning  also  the  music  so  kindly 
sent  me.  Accept  please  my  sincerest  appreciation  of  the  com- 
pliment to  the  Morning  Choral  Club  and  to  the  Club's  President. 
It  will  be,  I  am  sure  the  pleasure  of  the  Club  to  give  your  music 


American  Composbr  85 

a  hearing  as  soon  as  possible.    It  is  a  charming  chorus — very 
lovely — and  attractive  to   several   music   loving  friends   I  have 
with  me  from  New  York.   I  only  hope  the  rendering  of  it  by  the 
"Morning  Choral  Club"  will  be  satisfactory  to  the  composer. 
Again  I  thank  you  and  please  believe  me  always, 
Very  cordially  yours, 
(Mrs.  James  L.)  A.  M.  BLAIR. 


New  York,  July  28,  1909. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

It  will  give  me  great  pleasure  to  have  you  use  my  poem, 
"Our  Flag"  in  connection  with  your  music. 

Sincerely  yours, 
MARGARET  E.  SANGSTER. 


New  York,  N.  Y.,  Sept.  29,  1909. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Prof.  Armstrong: — 

We  are  planning  a  missionary  or  church  extension  cam- 
paign, a  series  of  meetings  in  this  interest  in  every  parish 
and  mission  of  the  Diocese.   We  need  some  Lay  readers. 

Will  you  give  us  two  or  three  evenings  and  speak  in  some 
places  not  very  far  from  Alton,  between  Oct.  25th  and  Nov. 
14th.?   I  hope  you  will. 

Very  sincerely  yours, 

EDWARD  O.   OSBORNE,  Bishop. 


New  York,  May  23,  1910. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Your  kind  letter  is  received  and  I  hasten  to  write  and  thank 
you  for  the  dedication  of  your  "Postludium  in  the  form  of  a 
Fugue".  It  is  very  interesting  and  I  shall  take  pleasure  in 
playing  it.    I  often  wonder  how  you  have  iinje  to  do  so  much 


86  William  Dawson  Armstrong 

writing,  as  I  know  you  are  busy  in  many  other  ways.    You 
surely  must  have  to  resort  to  the  midnight  oil. 

Again  thanking  you  for  the  dedication,  believe   me,  with 
very  good  wishes. 

Sincerely  yours, 

WILLIAM  C.  CARL. 


New  York,  June  6,  1910. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Thank  you  for  your  kind  letter  of  June  1st.  I  certainly 
appreciate  your  good  will.  You  have  always  been  the  sincere 
and  conscientious  musician  and  a  word  from  you  means  much 
to  me. 

Your  friend, 

A.  G.  ROBYN. 


Warren,  Ohio,  Oct.  7,  1910. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

Some  days  ago  I  received  one  of  your  compositions  for 
Military  Band,  and  I  want  to  thank  you  for  the  same.  I  have 
known  your  writings  for  some  time  and  always  enjoyed  them. 
We  have  both  band  and  orchestra  here,  and,  they  rehearse 
daily,  which  gives  us  an  opportunity  to  try  and  know  many 
works,  and  to  also  give  the  pupils  a  chance  to  gather  a  fine 
repertoire  for  their  own  use. 


With  best  wishes, 


Yours  truly, 
WILLIAM   H.   DANA. 


Springfield,  Oct.  11,  1910. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir  and  Friend: — 

I  want  to  tell  you  that  we  played  the  little  Intermezzo  of 
yours  every  day  during  our  great  State  Fair,  part  of  the  time 


American  Composer  87 

with  35  and  part  of  the  time  with  70  men.  The  musicians  en- 
joyed the  little  conceit  better  every  time  they  played  it,  and 
the  only  regret  I  have  is  that  it  was  not  dedicated  to  our  or- 
ganization. 

Hoping  that  you  may  honor  us  in  the  future  with  one  of 
your  valuable  works  dedicated  to — Louis  Lehmann,  Director 
Ills.  Watch  Co.  Band,  Springfield,  111. 

I  remain  truly  yours, 

LOUIS  LEHMANN. 


Ann  Arbor,  Mich.  Mar.  2,  1911. 
MR.  W.  D.  ARMSTRONG, 
Shurtleff  College, 
Alton,  111. 
Dear  Mr.  Armstrong: — 

I  am  very  anxious  to  add  your  name  to  the  list  of  members 
of  the  I.  M.  S.  We  count  on  the  cooperation  of  such  musicians 
as  yourself  in  building  up  the  American  Section  of  the  parent 
Society.  Since  this  list  went  to  press,  several  have  joined,  but 
there  is  still  room.  Please  do  not  neglect  to  send  your  name, 
address,  Breitkopf  &  Hertel,  24  W.  20th.  St.  N.  Y. 

We  are  anxious  to  report  large  accessions  to  our  member- 
ship at  the  London  Congress,  May  29th  to  June  3rd,  inclusive. 
Why  not  come  to  that? 

Fraternally, 
ALBERT  A.  STANLEY. 


Studio  12,  Steinway  Hall, 

New  York,  March  13,  1911. 
MR.  W  D.  ARMSTRONG, 

Alton,  I1L 
My  Dear  Mr.  Armstrong: — 

I  duly  received,  welcomed  and  possessed  myself  of  your 
portrait  and  am  glad  to  have  it.  At  the  same  time  I  am  asham- 
ed to  recall  that  I  have  so  long  neglected  to  acknowledge  it  or 
to  send  the  reciprocal  photo  to  you.  I  have  autographed  one 
this  evening  and  it  will  be  shipped  by  freight  tomorrow.  It  is 
warranted   to   scare  away  rats   and  burglars.    But  if  it   shall 


88  William  Dawson  Armstrong 

bask  in  the  sunshine  of  your  broad  smile  I  shall  be  happy.  With 
kindest  regards  and  fraternal  greetings,  I  am, 

Sincerely  yours, 

E.  M.  BOWMAN. 


Chicago,  111.  June  9,  1911. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Thanks  for  the  very  pretty  Forest  Legend.  I  will  gladly 
use  it.  That  is  a  very  attractive  program  of  Kroeger's.  I  sent 
some  of  my  literature  under  separate  cover. 

Cordially  yours, 

EMIL  LIEBLING. 


Sioux  City,  Iowa,  Nov.  1,  1911. 
MR.  W  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

Please  accept  thanks  for  the  copy  of  your  work  on  the  piano- 
forte pedals.  It  is  certainly  most  exhaustive  and  valuable.  You 
will  notice  by  the  copy  of  my  last  Sunday's  program  that  it  was 
a  sort  of  an  Armstrong  Sunday  so  far  as  the  organ  music  was 
concerned.     With  best  wishes, 

Very  truly  yours, 

ORWIN  S.  MORSE. 


Chicago,  111.  Nov.  2,  1911. 
MR.  W.  D.  ARMSTRONG, 

Alton,  I1L 
Dear  Mr.  Armstrong: — 

Owing  to  my  manifold  duties  I  have  been  unable  to  ex- 
amine your  "Pedal  Studies"  until  today.  I  find  the  material 
well  arranged,  lucid  and  practical. 

I  remain  with  heartiest  greetings, 

Yours  very  truly, 
JOHN  J.  HATTSTAEDT, 


American  Composer  89 

St.  Paul,  Minn.  March  30,  1912. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Thank  you  very  much  for  copy  of  your  Magnificat  and  Nunc 
Dimittis  in  F,  which  I  like  very  much,  as  it  is  of  the  right  char- 
acter for  boy  choir  use,  and  I  hope  to  add  it  to  the  repertoire 
for  my  choir. 

Sincerely  yours, 

G.  H.  FAIRCLOUGH. 


St.  Louis,  Mo.  May  7,  1912. 
PROF.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

I  have  been  in  St.  Louis  for  about  a  month,  but  we  have 
been  so  rushed  working  night  and  day  to  get  our  new  material 
ready  that  I  had  no  time  for  anything  else.  Hardly  time  to 
take  my  breath,  little  food  and  sleep  on  the  side. 

We  are  getting  out  a  sort  of  memorial  letter  to  send  out 
having  reference  to  the  passing  of  our  late  Editor-in-chief,  W. 
S.  R.  Mathews.  I  am  writing  this  note  especially  to  ask  you 
if  you  will  be  kind  enough  to  make  an  appointment  with  me 
at  a  date  at  your  earliest  convenience  to  call  here  at  the  office 
and  sign  up  about  one  hundred  (100)  of  these  letters.  I  should 
say  that  Mr.  Hall  will  sign  together  with  you  and  me;  that  is, 
the  editorial  staff.  Please  come  prepared  to  take  lunch  with 
me,  and  bring  a  good  appetite  with  you,  for  I  should  very  much 
enjoy  making  your  personal  acquaintance. 

Hoping  to  have  the  pleasure  of  hearing  from  you,  and  as 
this  is  a  business  matter,  I  am  going  to  take  the  liberty  to  add, 
at  your  earliest  convenience. 

With  very  best  regards,  I  am, 

Very  sincerely, 
F.  M.  LILLEBRIDGE,  Managing  Editor. 


90  William  Dawson  Armstrong 

New  York  City,  June  25,  1912. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Many  thanks  indeed  for  the  honor  of  the  dedication  of  the 
fine  anthem  "Arise  O  God".  It  is  exactly  suited  to  my  purpose 
and  I  have  it  listed  for  presentation  with  my  Mannerchoir  of 
twenty-five  at  Union  Theological  Seminary  next  October —  when 
we  start  up  again.  The  words  are  peculiarly  appropriate  for 
use  there  and  the  music  very  interesting  and  practicable. 
Again  accept  my  thanks  and  appreciation. 

Sincerely  yours, 
CLARENCE  DICKINSON. 


St.  Louis,  Mo.  Nov.  30,  1912. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Accept  many  thanks  for  remembering  me  with  a  copy  of 
your  recently  published  "Evening  Service  in  G."  which  I  like 
very  much  and  which  I  shall  use. 

I  always  enjoy  anything  from  your  pen  and  frequently 
play  yOur  Organ  numbers  in  the  Schmidt  collection. 

I  shall  be  glad  to  see  you  whenever  you  are  in  the  city. 
Very  sincerely  yours, 

EDWARD  M.  READ. 


The  Carson  School  of  Music 

Carrollton,  111.  Feb.  20,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir  and  Friend: — 

I  heard  your  very  credible  Valse  Dramatique  and  your  little 
speech  last  night  and  hasten  to  congratulate  you  on  both.  I 
have  watched  your  development  as  a  Composer  with  interest 
from  the  little  Gavotte  published  by  Kunkel  years  ago  up  to 
the  Opus  of  last  night  and  can  but  commend  your  progress  and 
sincerity.  Yours  truly, 

J.  A.  CARSON. 


American  Composer  91 

Brooklyn,  Feb.  25,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Armstrong: — 

Heartiest  congratulations  for  the  successful  performance  of 
the  Valse  Dramatique  by  the  St.  Louis  Symphony  Orchestra 
last  Thursday,  I  wish  I  had  an  Orchestra  here — well — let  us 
hope. 

Hoping  you  are  well  and  happy,  1  am 

Sincerely  yours, 

RAFAEL  NAVARRO. 


St.  Louis,  Mo.  Mch.  22,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:— 

It  is  certainly  very  kind  of  you,  in  making  me  the  prop- 
osition made  in  your  letter  of  the  3rd  inst. 

Beginning  with  May  I  shall  start  with  you  coming  as  often 
as  I  can.  I  shall  let  you  know  the  day  I  can  come.  It  is  hard 
to  get  away  for  the  length  of  time  required  in  going  to  and  re- 
turning from  Alton,  but  I  believe  the  time  will  be  more  than 
well  spent,  as,  I  formerly  said,  I  believe  you  are  the  type  of 
modern  writer,  I  have  for  years  been  wanting  to  come  in 
touch  with.  Yours  truly, 

O.  H.  KLEINSCHMIDT. 

St.  Louis,  March  24,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir: — 

Kindly  excuse  my  neglect  in  answering  your  note  of  Feb. 
20th.  It  got  misplaced  on  my  desk  and  therefore  slipped  my 
mind.  If  you  were  good  enough  to  write  to  Mr.  J.  S.  McConathy 
at  3535  Pine  st.,  St.  Louis,  he  will  be  pleased  to  return  the  parts 
and  score  to  you. 

I  am  very  glad  to  hear  that  you  liked  my  interpretation  of 
your  work.  Yours  truly, 

MAX  ZACH. 


92  William  Dawson  Armstrong 

New  York  City,  March  11,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

I  meant  to  have  written  you  long  ago  to  thank  you  for 
sending  me,  from  time  to  time,  your  compositions.  We  include, 
now  and  then,  one  of  them  in  our  lists.  I  keep  in  touch  with 
the  work  you  are  doing  in  your  section  and  congratulate  you 
upon  your  great  success.  I  have  had  more  to  do  than  I  could 
get  through  with  during  all  the  past  winter  and  that  is  the 
reason  for  my  delinquency  in  attending  to  my  desk  work.  I 
could  not  keep  up  with  it,  although  I  had  a  helper  most  of 
the  time. 

With  best  wishes  for  your  continued  success,  I  am, 

Cordially  yours, 
J.  WARREN  ANDREWS. 


New  York,  April  17,  1912. 
PROF.  WILLIAM  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Friend: — 

I  was  very  glad  to  read  in  "The  Globe  Democrat",  which  I 
receive  regularly,  of  the  honor  which  has  been  conferred  upon 
you  by  the  French  Society  of  Authors,  Composers  and  Publish- 
ers of  Music.  It  was,  I  am  sure,  an  honor  well  bestowed.  Ac- 
cept my  hearty  congratulations. 

I  believe  you  visit  New  York  occasionally,  and  I  shall  hope 
to  have  the  pleasure  of  a  visit  from  you  whenever  you  come  this 
way. 

With  cordial  regards  and  best  wishes,  I  remain, 
Yours  very  sincerely, 

GEO.  T.  COXHEAD. 


Boston,  Mass.  Jan.  13,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

The  choir  and  choral  department  of  The  Musician  needs 
several  practical  articles  bearing  on  the  subject  of  organ  play- 


American  Composer  93 

ing,  teaching,  organ  compositions,  practical  problems  connected 
with  the  work  of  an  organist,  etc.  We  shall  be  very  much  in- 
debted to  you  if  your  engagements  will  permit  you  to  prepare 
at  least  two  articles  and  send  them  on  to  us  at  an  early  date. 

Let  me  take  this  opportunity  of  wishing  you  a  prosperous 
New  Year. 

Yours  very  truly, 

W.  J.  BALTZELL, 

The  Editor  of  the  Musician. 


NATIONAL  SOCIETY  FOR  THE  PROMOTION  OF 
OPERA  IN  ENGLISH. 

Metropolitan  Opera  House 

New  York,  April  23,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

I  assure  you  that  the  greatest  interest  is  being  taken  in  our 
Society  by  leading  musicians  everywhere,  for  it  is  by  and 
through  this  movement  public  sentiment  can  be  made  and  crys- 
talized  for  Grand  Opera  in  English. 

We  hope  to  be  able  to  report  a  membership  of  ten  thousand, 
and  this  can  easily  be  done  if  we  can  secure  the  co-operation 
of  all  our  members. 

Will  you  not  send  to  us  the  names  and  addresses  of  musi- 
cians to  whom  we  can  send  an  invitation  to  join? 

Will  you  not  personally  try  and  secure  names  among  your 
musical  friends? 

Yours  very  truly, 

ANNA  E.  ZIEGLER,  Secretary. 


New  York,  May  20,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

I  am  Informed  that  you  contemplate  attending  the  conven- 
tion of  organists  to  be  held  at  Ocean  Grove  early  in  August. 
Could  we  not  have  the  privilege  of  hearing  you  on  a  sub- 


94  William  Dawson  Armstrong 

ject  that  would  stir  the  members,  or  stimulate  them  to  a  greater 
activity.    We  have  all  heard  much  of  you,  and  we  would  cer- 
tainly like  to  have  you  with  us.  I  am  sure  you  would  enjoy  it  too. 
Hoping  to  hear  from  you  favorably,  believe  me, 
Most  cordially, 

FREDERICK  SCHLEIDER. 


New  York,  June  3,  1913. 
MR.  W.  D.  ARMSTRONG, 
215  East  2nd  St. 
Alton,  111. 
Dear  Sir: — 

Mr.  Sousa  desires  me  to  say,  in  answer  to  your  letter  in 
reference  to  his  playing  your  composition,  "An  Overture  for  a 
Religious  Festival",  that  if  you  have  it  arranged  for  Military 
Band,  and  will  send  on  the  parts,  he  will  be  pleased  to  play  it. 

The  date  of  our  concerts  in  Ocean  Grove  is  August  11th. 
and  I  believe  the  meeting  of  the  Organists'  Association  takes 
place  the  week  before.  However,  you  can  ascertain  the  facts, 
and  govern  yourself  accordingly  in  sending  on  the  music. 

Yours  truly, 
EDWIN  G.  CLARKE,  Mgr. 


Springfield,  111.  June  20,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:  — 

The  present  Legislature  has  marked  its  respect  for  the  his- 
tory of  the  Illinois  County  by  passing  House  Bill  No.  400  ap- 
propriating $4,  000.  for  the  purchase  of  the  ground  formerly  the 
French  Fort  Chartres  in  Randolph  County,  Illinois,  fifty-one 
miles  south  of  East  St.  Louis. 

There  is  still  standing  the  powder  magazine  and  some  short 
pieces  of  masonry  wall.  The  magazine  is  crumbling  fast  so  that 
it  will  cave  in  soon  unless  repaired. 

First  Fort  Chartres  built  of  wood  in  1720,  16  miles  above 
Kaskaskia,  the  first  permanent  white  settlement  in  Illinois; 
second  Fort  Chartres  built  of  stone  about  1754  and  considered 
the  strongest  fortification  in  North  America,  also  occupied  by 


American  Composer  95 

the  British  from  1765  to  1772.   Of  this  Fort  the  above  mentioned 
powder  magazine  is  the  only  remnant  of  a  building. 

For  this  bill  to  become  a  law  it  is  necessary  that  it  be 
signed  by  Governor  Dunne. 

To  show  your  interest  in  the  preservation  of  this  earliest 
historical  monument  of  the  white  settlement  in  Illinois  please 
write  to  Governor  Dunne  expressing  your  desire  that  he  add 
his  signature  to  the  bill  thus  perpetuating  this  ground  sacred 
to  loyal  Illinoisans.  As  it  is  necessary  that  you  act  immedi- 
ately please  write  his  Excellency  Governor  Edward  F.  Dunne, 
Springfield,  Illinois. 

Kindly  give  this  your  immediate  attention. 

Very  truly  yours, 
JESSIE  PALMER  WEBER,  Secretary 

Illinois  State  Historical  Society. 


St.  Louis,  June  22,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Friend  Armstrong: — 

Many  thanks  for  the  compositions  you  sent  me.  I  am  glad 
to  see  that  you  constantly  keep  up  the  good  work  and  that  you 
always  maintain  a  high  ideal  in  your  standard  of  work.  Here 
in  the  middle  west  we  can  be  justly  proud  of  the  list  of  pub- 
lished pieces  which  you  have  to  your  credit.  Very  few  American 
composers  can  point  to  a  list  along  similar  elevated  lines.  With 
my  best  wishes,  I  am, 

Yours  very  truly, 

E.  R.  KROEGER. 


New  York,  June  23,  1913. 
MR.  W.  D.  ARMSTRONG, 
215  East  2nd  Street, 
Alton,  111. 
Dear  Sir: — 

Mr.  Sousa  has  just  returned  to  this  City,  and  requests  me 
to  say  that  he  received  the  parts  to  your  Overture,  and  will 
rehearse  it  with  the  Band  when  it  is  assembled  for  the  coming 


96  William  Dawson  Armstrong 

season,  which  will  be  about  August  7th. 

Yours  truly, 
EDWIN  C.  CLARKE. 


Lancaster,  Pa.,  Sept.  1,  1913. 
MR.  W.  D.  ARMSTRONG, 
Alton,  111. 
I  have  ordered  the  Communion  Service  in  A  Flat  (do  you 
remember  your  Autograph?).  I  expect  to  place  the  Sanctus  on 
the  October  Music  list  for  rendition.  Will  you  kindly  favor  me 
with  the  original  Mss  of  the  same  with  brief  sketch  before  the 
list  goes  to  press  viz,  Sept.  25th. 

I  will  guarantee  the  safe  return  of  the  same  the  day  fol- 
lowing the  rendition  unless  you  kindly  consent  to  present  me 
with  same  for  my  valuable  collection. 

Kindly  reply  at  your  earliest,  with  best  wishes  for  the 
future  success,  I  remain  as  ever, 

Yours  very  truly, 

WILLIAM  A.  WOLF. 


MR.  W.  D.  ARMSTRONG,  Sept.  15,  1913. 

Alton,  111. 
My  dear  Mr.  Armstrong:  — 

The  Missouri  Chapter  of  the  American  Guild  of  Organists 
will  hold  their  first  meeting  for  this  season  on  Monday,  Sept. 
29th.  at  six  o'clock,  dinner  to  be  at  Washington  Hotel. 

I  would  be  very  pleased  to  have  you  as  my  guest  on  that 
occasion,  when  we  would  also  be  pleased  to  hear  from  you  as 
to  the  National  Association  meeting  at  Ocean  Grove  this  sum- 
mer, which  I  know  will  be  of  great  interest. 

May  I  have  the  pleasure  of  hearing  from  you  by  return 
mail,  so  as  to  announce  this  address  to  our  members. 

Cordially, 
WILLIAM  JOHN  HALL. 


MR.  W.  D.  ARMSTRONG,  Ocean  Grove,  N.  J.  Oct.  8,  1913. 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

The  first  meeting  of  the  N.  A.  O.  Executive  Committee  will 


American  Composer  97 

be  held  next  Tuesday  night  October  14th,  at  the  residence  of 
the  National  President,  Dr.  J.  Christopher  Marks,  234  West  44th. 
St.,  New  York,  at  8:00  o'clock.  In  case  you  cannot  be  present, 
please  write  a  letter  to  be  read  to  the  Committee,  giving  any 
suggestions  for  future  work.  This  meeting  will  be  an  important 
one,  and  it  is  hoped  that  there  will  be  a  large  attendance. 

Yours  very  truly, 

TALI  ESEN  MORGAN. 


Chicago,  Nov.  25,  1912. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

It  was  a  great  pleasure  to  meet  you  last  Sunday  and  to 
have  the  opportunity  to  speak  at  the  Y.  M.  C.  A.  and  later  before 
the  boys  of  the  Western  Military  Academy.  I  trust  that  out 
of  the  meetings  will  come  service  to  some  individuals  and  per- 
haps to  the  city  of  Alton. 

I  send  under  separate  cover  some  literature  some  of  which 
you  may  not  have  had. 

Yours  very  truly, 
ARTHUR  BURRAGE  FARWELL,  Pres. 


New  York,  Dec.  2,  1913. 
MR.  W.  D.  ARMSTRONG, 
215  E.  Second  St., 
Alton,  111. 
My  dear  Mr.  Armstrong: — 

We  made  a  rehearsal  of  your  Religious  Festival  "Overture" 
and  I  found  it  very  effective. 

I  request  that  as  soon  as  you  have  it  published,  you  will 
let  me  know  the  publisher  so  I  can  add  it  to  my  repertoire. 

I  regret  to  hear  that  your  health  is  not  of  the  best  and 
earnestly  hope  that  you  will  soon  be  your  own  self  again. 

Very  sincerely, 

JOHN   PHILLIP   SOUSA. 


98  William  Dawson  Armstrong 

Rutherford,  N.  J.  July  13,  1913. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong:  — 

Will  you  kindly  send  to  me,  at  your  very  earliest  conven- 
ience, such  particulars  of  your  musical  career  and  work  as  would 
form  interesting  reading  to  those  who  will  have  the  pleasure 
of  being  entertained  by  you  during  the  Convention  at  Ocean 
Grove.  If  Mr.  Morgan  has  not  already  a  photograph  or  cut  of 
you,  will  you  kindly  furnish  him  with  one  at  once. 

I  am  obliged  to  reserve  my  greetings  to  you  until  we  meet 
at  the  Convention,  as  I  am  working  at  very  high  pressure  in 
order  to  get  the  programme  in  thoroughly  good  shape. 

I  am,  Yours  sincerely, 

ARTHUR  SCOTT  BROOK. 


New  York,  July  14,  1913. 
MR.  W.  D.  ARMSTRONG, 
215  E.  2nd.  Street, 
Alton,  111. 
Dear  Sir: — 

Your  favor  of  July  12th  is  received  and  in  reply  would  say 
you  will  find  on  that  same  page  in  The  Ladies  Home  Journal 
quite  a  number  of  references  to  publications  issued  by  the  Tul- 
ler-Meredith  Co.  The  fact  is  that  Mr.  Tuller  is  very  largely 
responsible  for  that  page. 

This  song  of  yours  has  not  been  issued  in  separate  leaflet 
form,  but  has  been  used  in  a  number  of  services  where  it  had 
found  a  prominent  place. 

We  shall  be  glad  to  see  you  when  you  come  this  way. 
Wish  you  would  let  us  know  in  advance  of  your  coming  so 
that  if  possible  Mr.  Tuller  or  Mr.  Meredith  or  both  be  here  to 
greet  you. 

Yours  truly, 
TULLER-MEREDITH  CO. 
Per  G.  C.  T. 


American  Composer  99 

Chicago,  111.  Jan  26,  1914. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

Thank  you  very  much  for  the  honor  of  dedicating  your 
"Recit,  Aria  and  Choral"  to  me.  It  is  a  melodious  thoughtful 
composition  and  I  shall  play  and  recommend  it.  Thanking  you 
for  the  courtesy, 

Sincerely  yours, 
WILHELM  MIDDELSCHULTE. 


Feb.  20,  1914. 
PROF.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:— 

The  passing  of  the  old  Madison  County  Court  House  will 
be  observed  by  memorial  exercises  within  its  walls.  Inclosed 
you  will  find  an  invitation  (alias,  a  summons)  to  attend  those 
exercises.  Many  have  been  issued  both  in  and  out  of  the  county 
and  we  hope  for  a  large  and  interested  attendance. 

Mrs.  Travous  and  myself  are  the  Committee  on  music,  and 
we  join  in  inviting  you  to  take  part  in  those  exercises  by  fur- 
nishing a  musical  number,  or  group,  if  it  pleases  you.  We  think 
is  especially  appropriate  that  you  should  represent  Alton,  and 
you  may  be  assured  that  we  appreciate  your  kindness.  Will 
you  please  answer  at  your  earliest  convenience,  giving  the 
names  of  your  selections? 


Yours  sincerely, 
ANNIE  E.  BURTON. 


Mrs.  Chas.  H.  Burton, 
415  Vandalia  St., 

Edwardsville,  111. 


St.  Louis,  Feb.  26,  1914. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir: — 

Thanks  for  data.    After  writing  to  you  I  found  it  in  Bait- 


100  William  Dawson  Armstrong 

zell's  "Dictionary  of  Americans."    You  are  thus  doubly  immor- 
talized. 

Sincerely, 

JOHN  TOWERS. 


MR.  W.  D.  ARMSTRONG,  Concord,  Mass.  Mar.  21,  1914. 

Alton,  111. 
Dear  Mr.  Armstrong: — 

Thank  you  for  your  note  and  for  the  picture  of  yourself. 
A  very  good  looking  man,  but  what  is  even  better,  one  who  has 
done  a  large  and  good  musical  work. 

Very  sincerely  yours, 
CHARLES  L.  HUTCHINS, 

Editor  Parish  Choir. 


MR.  W.  D.  ARMSTRONG,  April  22,  1914. 

Alton,  111. 
Dear  Sir: — 

I  beg  to  call  your  attention  to  the  enclosed  program  of 
the  Annual  Meeting  of  the  Illinois  State  Historical  Society  to 
be  held  in  the  State  House  at  Springfield,  on  Thursday  and  Fri- 
day, May  7-8,  1914. 

The  papers  and  addresses  are  of  great  historic  interest  and 
value.  Business  of  importance  will  come  before  the  Society. 
You  are  urged  to  do  your  part  in  helping  the  Society  and  thus 
the  State  of  Illinois,  in  its  important  work.  Your  attendance  on 
the  sessions  of  the  meeting  will  be  a  help  and  will  be  much  ap- 
preciated by  the  officers  of  the  Society.  Make  a  real  effort  to 
attend  the  meeting  and  invite  your  friends  to  come. 

Very  respectfully, 
JESSIE  PALMER  WEBER. 
Secretary  Illinois  State  Historical  Society. 


Edwardsvllle,  111.  June  19,  1914. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Friend: — 

Our  teachers  will  be  pleased  to  hear  your  lecture  on  Mon- 


American  Composer  101 

day  August  31,  1914,  at  3:00  P.  M.  at  their  Annual  Institute 
In  Edwardsville.    Use  the  subject  you  think  best  for  them. 

Sincerely  yours, 
JOHN  U.  UZZELL,  Supt.  Schools 


Philadelphia,  Pa.  June  25,  1914. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:— 

It  occured  to  us  that  it  might  be  timely  and  appropriate 
to  have  you  say  a  word  regarding  the  passing  of  Hans  Engel- 
mann.  We  are  writing  to  a  number  of  American  writers  to 
give  a  word  of  testimony  to  a  contemporary. 

Mr.  Engelmann  was  in  some  respects  quite  original;  his 
flow  of  melody  was  remarkable.  In  the  July  issue  we  gave  a 
sketch  of  his  life. 

We  would  like  to  print  these  testimonials  in  the  August 
issue  so  kindly  reply  at  once. 

Yours  very  truly, 
THEO.  PRESSER  CO. 
T.  P. 


Rutherford,  N.  J.  July  1,  1914. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Your  letter  of  June  10th.  reached  me  this  morning.  Many 
thanks  for  the  kind  things  you  say  of  "The  Console."  I  shall 
try  to  do  better  than  that. 

I  really  would  very  much  like  to  have  you  take  some  part 
in  the  program.  Would  you  care  to  tackle  a  paper  on  the  sub- 
ject; "The  Concert  Organist — Program  making — Orchestral  Col- 
oring— etc."  I  think  you  ought  to  be  able  to  handle  the  sub- 
ject very  well,  and  I  am  sure  it  would  create  a  great  deal  of 
interest.  If  you  dont  care  for  this  subject,  kindly  name  one  of 
your  own,  but  I  DO  want  you  to  do  something.  Please  reply 
to  me  at  once  in  regard  to  this,  as  time  is  moving  rapidly.  I 
want  to  show  a  photograph  in  the  July  Console  of  all  who  are 
taking  part  in  the  Convention  Program,  so  if  you  have  a  'cut' 


102  William  Dawson  Armstrong 

please  send  it  on,  and  if  not,  send  me  a  photograph  so  that  I 

can  have  one  made  from  it. 

Hoping  to  hear  from  you  quite  early,  I  am, 

Sincerely  yours, 
ARTHUR  SCOTT  BROOK. 


Urbana-Champaign,  111.,  July  18,  1914. 
W.  D.  ARMSTRONG,  ESQ., 

Alton,  111. 
My  dear  Sir: — 

Your  name  has  been  suggested  to  me  as  that  of  a  suitable 
person  for  director  of  our  Music  School  of  the  University  of 
Illinois.  If  such  a  position  would  interest  you,  kindly  fill  out 
the  enclosed  information  blank  and  return  at  your  early  con- 
venience. 

If  you  should  be  passing  east  or  west  this  way  during  the 
summer,  I  should  be  glad  if  you  would  drop  off  and  see  us. 

Faithfully  yours, 

EDMUND  J.  JAMES 


Alton,  111.,  July  21,  1914. 
DR.  JAMES,  President, 

Illinois  State  University, 
Champaign,  Illinois. 
Dear  Doctor  James: — 

I  understand  that  the  name  of  Mr.  W.  D.  Armstrong  of  this 
city,  is  being  considered  to  organize  the  School  of  Music  for 
the  University. 

I  have  known  this  gentleman  all  his  life,  and  also  knew 
his  family.  He  is  a  man  without  exception  as  to  character  and 
ability  and  I  feel  assured  that  if  he  received  the  appointment, 
his  services  would  meet  the  approval  of  all. 

He  was  born  and  raised  in  Alton  and  has  a  cumulational 
reputation  as  a  composer  and  writer.  He  has  made  a  success 
in  his  work  and  I  would  consider  the  University  fortunate  in 
securing  his  services. 

You  can  write  to  any  of  the  leading  citizens  and  banks  of 


American  Composer  103 

Alton  and  I  feel  sure  they  will  give  him  the  best  of  recom- 
mendation. 

Please  take  this  matter  up  and  I  know  after  an  investiga- 
tion of  his  ability  and  character,  you  will  offer  him  this  position. 

Yours  very  truly, 

ED  BEALL. 

State   Senator. 


Urbana-Champaign,  111.,  Aug.  1,  1914. 
PROFESSOR  W.  D.  ARMSTRONG, 

Ocean  Grove,  New  Jersey. 
My  dear  Professor  Armstrong: — 

We  have  here  at  the  University  of  Illinois  a  music  school 
which  is  an  intregal  part  of  the  University. 

We  are  seeking  a  Director  for  the  same. 

We  desire  a  man  who  is  a  thoroughly  good  teacher,  a  fruit- 
ful creator  of  valuable  musical  compositions. 

The  salary  is  $3000.  per  annum.  The  Director  would  be 
expected  to  be  responsible  for  the  conduct  of  the  school  in 
every  respect.  He  has  also  general  supervision  of  the  musical 
interests  of  the  University.  He  is  expected  to  develop  and  main- 
tain a  choral  society,  see  that  an  efficient  orchestra  is  kepi 
in  valuable  operation. 

As  University  organist  he  would  be  expected  to  give  an 
organ  recital  every  Sunday  afternoon  during  term  time  in  the 
University  Auditorium  to  the  university  and  the  general  public 
on  such  terms  as  the  University  may  determine.  He  would  be 
expected  to  see  that  public  recitals  are  given  by  pupils  of  the 
music  school  and  by  members  of  the  faculty  of  the  music  school 
and  that  such  other  concerts  should  be  organized  and  given  as 
circumstances  may  make  feasible.  The  position  is  one  full  of 
responsibility,  has  many  annoyances  connected  with  it  and  is 
strenuous  to  a  degree. 

While  there  is  some  prospect  that  we  may  have  some  better 
housing  and  better  equipment  for  our  music  school  than  we 
have  at  present,  this  is  still  only  a  prospect  and  ought  not  to 
be  looked  upon  at  all  as  an  inducement  to  any  one  to  come. 
If  the  enlarged  facilities  and  opportunities  are  realized  so  much 


104  William  Dawson  Armstrong 

the  better;    if  they  are  not,  the  Director  is  not  expected  to 
grumble  and  find  fault. 

We  wish  any  man  who  comes  to  throw  himself  into  the 
work  with  a  large  degree  of  energy  and  with  a  determination 
to  make  the  utmost  of  such  opportunities  as  the  University 
acords. 

The  appointment  is  from  year  to  year.  If  the  Director 
should  not  make  good  he  would  be  expected  of  course  to  step 
aside  and  make  way  for  some  one  who  can  make  good  or  who 
is  more  promising. 

No  one  ought  to  take  the  position  who  does  not  feel  that 
he  can  safely  with  due  regard  to  his  health  put  forth  his  ut- 
most effort  all  the  time  while  he  holds  the  position. 

While  he  should  hope  that  in  the  course  of  time  the  salary 
might  be  advanced,  there  is  at  present  no  definite  prospect  of 
such  an  advance  nor  any  promise  whatever  that  such  an  advance 
will  be  made  or  as  to  the  time  when  it  may  be  made. 

I  believe  that  the  matter  is  plainly  before  you.  As  Univer- 
sity organist  and  Director  of  the  music  school,  you  would  be 
expected  to  furnish  music  for  all  public  occasions,  either  in 
the  form  of  quartette,  octette  or  solo  singing  by  students  or 
professors,  or  organ,  or  orchestral  productions,  or  the  band. 
Whatever  you  can  get  your  colleagues  to  do  is  so  much  in  your 
favor.  In  the  last  analysis,  if  you  can  not  get  them  to  do  a 
thing  you  must  do  it  yourself. 

I  am  aware  that  the  outlook  is  not  very  alluring  and  I 
cannot  honestly  urge  you  to  accept  the  position  and  yet  if  you 
would  like  to  try  it  for  a  year  to  see  how  it  pans  out  with  the 
definite  understanding  that  if  either  of  us  is  dissatisfied  at 
the  expiration  of  the  year,  there  will  be  no  hard  feelings  on 
either  part  if  the  relations  should  not  be  continued,  I  should 
be  very  glad  to  recommend  you  to  the  Board  of  Trustees. 

The  proposition  then  is  that  in  case  you  wish  to  accept  it, 
I  shall  recommend  to  the  Board  of  Trustees  of  the  University 
your  appointment  as  Professor  of  Music  in  the  University,  Di- 
rector of  the  School  of  Music  and  University  Organist;  for 
twelve  months,  beginning  September  1,  1914,  at  a  salary  of 
three  thousand  dollars  ($3000). 


American  Composer  105 

You  would  be  expected  to  be  on  hand  by  the  first  of  Sep- 
tember in  order  to  acquaint  yourself  with  the  duties  of  the 
position  and  get  ready  for  the  work  which  begins  about  the 
middle  of  September. 

I  should  be  glad  if  you  would  wire  me  upon  receipt  of 
this  as  to  wether  you  would  accept  such  a  position  or  not. 

Faithfully  yours, 
EDMUND  J.  JAMES. 


Urbana,  111.  Oct.  23,  1914. 
PROFESSOR  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Mr.  Armstrong: — 

Of  course  you  are  coming  over  to  the  Conference  on  the 
20th  of  November  to  be  here  for  the  opening  session  at  9 
o'clock.  We  will  have  a  morning  and  afternoon  session,  and  I 
am  going  to  take  the  liberty  of  putting  you  down  on  a  discus- 
sion either  on  the  High  School  Syllabus,  which  will  interest 
you,  or  the  Accrediting  of  applied  Music  in  High  School,  but 
I  would  rather  have  you  formally  down  in  discussing  the  Syl- 
labus than  have  you  informally  discuss  the  other  topic.  Mrs. 
McNair  our  other  program  member  will  help  discuss  the  Syl- 
labus— Don't  say  "no"  and  drop  me  your  answer  by  return  mail. 
Hastily, 

Very  truly  yours, 
CONSTANCE  BARLOW-SMITH. 


Urbana,  111.  Nov.  21,  1914. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  friend: — 

I  was  so  glad  that  you  could  come  yesterday,  and  hope  that 
we  can  work  out  some  very  definite  things  for  the  High  Schools 
of  the  State  in  the  next  two  years.  Would  you  send  your  re- 
vised paper  back  by  the  first  possible  moment,  because  if  I 
can  get  it  into  the  minutes  I  should  like  to  do  so,  if  not  I  will 
tack  on  to  your  other  paper  extracts  enough  to  give  the  gist 
of  your  thot.  You  must  come  down  some  time  when  you  can 
stay  longer  so  we  can  have  an  old  fashioned  visit.    Director 


106  William  Dawson  Armstrong 

Erb  was  delighted  with  you,  and  considers  you  one  of  the 
biggest  men  in  the  State  of  Illinois.  I  thot  perhaps  you  would 
like  to  know  this  after  your  modest  statements  of  yesterday. 
Of  course,  you  know  it  without  saying  where  we  place  you. 
Don't  delay  sending  your  paper  in  or  it  will  be  too  late. 

Very  truly  yours, 
CONSTANCE   BARLOW-SMITH. 


Alton,  111.  Nov.  30,  1914. 
MR.  W.  D.  ARMSTRONG, 
Piasa  Lodge  No.  27, 
Alton,  111. 
Dear  Brother: — 

I  have  your  letter  of  Nov.  28th  conveying  an  invitation  to 
attend  the  celebration  of  the  Seventieth  Anniversity  of  Piasa 
Lodge  No.  27,  to  be  held  on  Tuesday  evening,  December  15th. 
I  thank  you  very  sincerely  for  this  invitation  and  assure 
you  that  I  shall  take  much  pleasure  in  accepting  the  same.  1 
shall  also  be  glad  to  say  a  few  words,  in  an  informal  way. 

Yours  fraternally, 
HENRY  T.  BURNAP, 
Grand  Master. 


Urbana,  111.  Jan.  23,  1914. 
PROF.  W.  D.  ARMSTRONG, 
School  of  Music. 
215  E.  Second  Street, 
Alton,  111. 
Dear  Friend: — 

Your  good  letter  with  enclosed  clipping  received.  Thanks 
for  your  encouraging  words  and  the  Newspaper  report,  of 
which  I  had  no  other  notification. 

We  are  trying  to  do  things  in  this  department  to  serve  the 
State.  Community  Music  is  one  of  the  things  we  are  working 
on  and  hope  to  develop  further. 

How  would  you  like  to  serve  on  a  High  School  Conference 


American  Composer  107 

Music  committee,  at  the   University?    If  this  appeals  to  you 
please  let  me  know  right  away. 
A  Happy  New  Year. 

Very  truly  yours, 

CONSTANCE  BARLOW-SMITH, 

Asst.  Prof,  of  Music. 


Chicago,  111.  Jan.  26,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Am  preparing  material  for  our  next  bulletin,  to  be  issued 
Feb.  15th  and  ask  you  to  contribute  an  article  on  "Entrance 
Credits  given  for  music  of  the  Illinois  University  upon  the 
same  basis  as  other  studies;  its  beneficial  effect  for  the  musi- 
cal profession  and  progress  of  musical  education  in  general  in 
our  State."  You  may  change  the  heading  to  suit  yourself.  The 
point  is  to  open  the  eyes  of  the  music  teachers,  that  they  will 
see  this  means  a  large  increase  of  music  students — that  music 
study  now  is  given  its  rightful  respected  place  officially,  and  that 
the  musical  educator  will  now  be  held  in  the  same  esteem  as 
other  educators.  Try  your  best  to  present  the  features  strongly, 
as  very  likely  the  article  will  be  copied  by  national  musical 
papers. 

Please  send  copy  to  me  by  Feb.  10th.  if  possible. 

With  best  wishes. 

Very  truly  yours, 

E.  R.  LEDERMAN. 


Chicago,  111.  Feb.  7,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Your  article  for  bulletin  received — will  be  published  in 
the  bulletin  Feb.  15th.  Met  program  chairman  last  week  in 
Chicago.  Your  lecture,  Resume  of  Illinois  Composers,  placed 
on  program.  Mr.  Miller  will  inform  you  as  to  date.  Mentioned 
your  song  to  him.  We  cannot  tell  yet  if  it  is  possible  to  give 
it  with  orchestra,  as  one  orchestra  program  will  be  made  up 


108  William  Dawson  Armstrong 

of  compositions  entered  in  contest.    We  may  have  to  place  it 
on  Illinois  Composers'  program. 

Met  Mr.  Stock  who  informed  me  that  he  found  some  ex- 
cellent works  among  the  40  scores  entered  in  contest.  Decision 
will  be  made  Feb.  8th. 


With  best  wishes, 


Very  truly  yours, 

E.  R.  LEDERMAN. 


Chicago,  111.  Apr.  8,  1916. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Friend: — 

We  completed  our  convention  program  to-day  and  set  the 
date  for  your  lecture  for  Wednesday  forenoon,  May  5th.  Hope 
this  date  will  meet  your  approval.  Am  very  anxious  to  meet 
you  again. 

Wishing  you  all  possible  success, 

Very  sincerely  yours, 

E.  R.  LEDERMAN. 


New  York,  May  13,  1916. 
MR.  W.  D.  ARMSTRONG, 
Musician  and  Composer, 
Alton,  111. 
My  dear  Mr.  Armstrong: — 

A  busted  leg  prevented  me  from  getting  up  to  hear  your 
talk  on  the  Illinois  Musicians.  However,  I  write  to  ask  if  you 
would  be  kind  enough  to  send  me  a  copy  of  it,  with  a  good 
photograph  of  yourself,  and  something  about  your  career.  I 
want  to  use  the  matter  and  the  photograph  in  "Musical 
America". 

I  already  have  a  picture  on  a  postal  card,  but  reproducing 
a  reproduction  is  not  as  effective  for  a  paper  as  when  we  have 
an  original  photograph  to  work  from.    So  I  will  appreciate  it 
if  you  will  be  so  courteous  as  to  send  me  one. 
Best  regards. 

Sincerely, 

JOHN  C.  FREUND. 


American  Composbr  109 

Centralia,  111.  May  19,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

Mr.  John  C.  Freund,  Editor  of  "Musical  America"  wrote 
me  to-day  for  a  copy  of  your  "Resume  of  Illinois  Composers" 
and  stated  that  you  informed  him  that  Mr.  Merry  has  it.  Mr. 
Freund  is  very  anxious  to  publish  it  in  next  issue  of  Musical 
America,  and  I  consider  this  quite  a  distinction  for  you.  Have 
written  to  Merry  to  have  a  copy  made  and  send  it  to  Freund  at 
once.  To  avoid  delay,  I  wish  you  would  write  Merry  a  few  lines, 
stating  that  you  gave  Mr.  Freund  permission  to  use  your  lec- 
ture, so  he  will  not  write  for  instructions  either  to  me  or  you, 
but  will  mail  it  to  New  York  at  earliest  date. 

Was  extremely  sorry  I  could  not  enjoy  your  company  and 
conversation  more  during  convention — but  I  had  to  attend  to 
hundreds  of  details  personally,  and  had  to  be  on  the  jump 
continually. 


With  best  regards. 


Very  sincerely, 

E.  R.  LEDERMAN. 


Rutherford,  N.  J.  June  21,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Brother  Armstrong: — 

I  am  delighted  that  you  are  coming  to  the  Convention.  It 
would  not  seem  altogether  right  were  you  not  there.  We  want 
a  paper  on  "Hymns,  Good  and  Bad",  perhaps  you  will  feel  in- 
clined to  take  it  on.  You  will  see  a  forecast  of  the  program 
in  "the  Console"  which  you  will  receive  very  shortly,  as  it  is 
now  being  printed.  Think  we  will  have  an  excellent  Convention, 
and  certainly  the  very  best  program  ever. 

Write  me  soon  as  possible  and  I  will  try  to  send  you  a 
decent  reply,  I  am  just  infernally  busy,  but  happy  nevertheless. 

Sincerely  yours, 

SCOTT  BROOK. 


110  William  Dawson  Armstrong 

Springfield,  111.  June  6,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

The  enclosed  is  the  last  of  my  Seasons  programs.  While 
it  may  be  open  to  the  usual  objections  that  the  proportion  is 
not  good,  or  that  the  contrasts  are  not  artistic,  (to  both  of 
which  usual  objections  I  am  not  ready  to  assent)  you  will  at 
least  admit  that  you  are  in  good  company.  Incidentally  I  will 
say  that  it  is  a  long  time  since  I  have  seen  anything  by  an 
American  (if  I  ever  saw  one!)  that  was  so  simple,  yet  so 
beautiful,  and  at  the  same  time  possessed  real  organ  dignity 
as  this  little  number  of  yours.  It  gave  me  much  genuine  pleasure 
to  play  it  and  no  less  to  tell  you  what  I  think  of  it. 
With  best  wishes. 

Yours  very  sincerely, 

T.  L.  RICKABY. 


Rutherford,  N.  J.  July  12,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Armstrong: — 

Yours  of  the  9th.  to  hand  safely,  I  want  to  change  the  sub- 
ject of  your  paper  if  you  will  allow  me,  I  want  you  to  speak  on 
the  subject  "Are  We  on  The  Right  Track  in  Regard  to  the 
Music  We  Use  in  Church?"  In  this  you  can  still  talk  of  Hymns, 
of  course,  and  it  is  merely  broadening  the  topic. 

We  have  a  splendid  program,  the  latest  additions  being 
Rev.  Father  Finn;  Nathan  H.  Allen  (Hartford)  and  Homer 
Bartlett  is  to  give  an  Exposition  on  Original  Works.  John  Her- 
mann Loud  is  to  give  the  organ  recital  representing  the  A.  G.  O. 
The  July  Console  will  be  out  very  early,  and  will  contain 
the  full  program. 

Looking  forward  to  seeing  you,  I  am, 

Sincerely  yours, 
ARTHUR  SCOTT  BROOK 


American  Composer  111 

University  of  Illinois,  Oct.  6,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
My  dear  Mr.  Armstrong: — 

I  have  your  inquiry  of  the  fourth  and  hasten  to  reply.  As 
nearly  as  I  understand  your  question  my  answer  would  be  that 
of  course  you  or  Mr.  Kroeger  would  be  eminently  satisfactory 
as  Harmony  teachers  under  the  rules  of  the  University.  How- 
ever, the  matter  of  certifying  the  High  Schools  is  not  in  my 
hands  nor  in  the  hands  of  the  School  of  Music  at  all.  That  is 
done  by  the  High  School  examiners.  I  presume  of  course  if 
there  were  any  doubt  in  their  minds  as  to  the  qualifications  of 
the  teachers  they  would  refer  to  me,  but  strictly  speaking  they 
are  not  required  to  do  so.  If  your  wortc  is  in  connection  with 
the  High  School,  however,  I  know  that  there  will  be  not  the 
slightest  difficulty  about  having  it  accepted.  You  understand 
that  nothing  but  schools,  High  Schools  especially,  may  be 
accredited  under  the  University  rules.  If  this  is  not  clear  or 
if  I  have  not  understood  you  properly  do  not  hesitate  to  write 
me  again  about  it,  for  I  am  anxious  that  there  should  be  no  mis- 
understanding. I  am  sure  that  this  matter  of  accrediting  music 
is  going  to  work  out  finely  in  the  long  run.  At  first  there  may 
be  some  slight  difficulties  and  misunderstandings  about  the  red 
tape  involved,  but  personally  I  am  trying  my  hardest  to  cut 
out  all  the  red  tape  possible,  and  I  think  after  the  first  year 
there  will  be  no  trouble. 

With  kindest  regards,  I  am, 

Sincerely, 

J.  LAWRENCE  ERB, 
Director  of  School  of  Music. 


Chicago,  111.  Nov.  7,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  Sir:— 

Your  post  card  sent  to  me  in  care  of  the  Gilbert  Music 
Co.  finally  reached  me,  although  its  contents  were  previously 
transmitted  to  me  by  phone.    I  certainly  appreciate  your  valu- 


112  William  Dawson  Armstrong 

able  estimate  of  my  "Magnificat",  and  where  you  call  it  "church- 
ly,  singable  and  practical,"  it  is  praise  indeed. 

As  you  are  a  member  of  the  Illinois  Chapter  of  the  A.  G.  O. 
I  am  hoping  you  will  find  it  possible  to  be  in  Chicago  some  time 
on  the  date  of  our  monthly  meeting.  And  if  you  could  arrange 
it,  would  you  be  willing  to  be  the  speaker  of  the  evening?  We 
should  certainly  like  to  have  you  with  us. 

Again  thanking  you  for  your  kind  communication,  I  am, 
Yours  very  truly, 

WALTER  KELLER. 


MR.  W.  D.  ARMSTRONG,  St  Louis'  Mo'  Nov'  16»  1915' 

Alton,  111. 
Dear  Mr.  Armstrong: — 

In  behalf  of  the  Apollo  Club  of  St.  Louis  I  take  great 
pleasure  in  inviting  you  to  attend  our  Concert,  the  first  of  the 
Season,  which  takes  place  on  November  23rd. 

As  we  sing  at  this  time  one  of  your  compositions,  "When 
Thou  Art  Nigh"  we  presume  you  would  be  pleased  to  hear  same 
and  enclose  tickets  herewith. 

We  trust  we  may  have  the  pleasure  of  meeting  you  on 
that  evening. 

Yours  truly, 
C.  W.  HUGHES,  Secretary. 


St.  Louis,  Mo.  Dec.  10,  1915. 
MR.  W.  D.  ARMSTRONG, 

Alton,  111. 
Dear  friend  Armstrong: — 

Your  very  kind  letter  is  at  hand,  and  I  much  appreciate 
your  commendation  of  my  work  as  organist  last  Sunday.  Es- 
pecially am  I  glad  that  my  playing  of  your  piece  was  satistac- 
tory  to  you.  Your  organ  pieces  have  a  real  organ  style,  and 
I  play  them  occasionally  in  connection  with  the  Church  service. 
In  these  days  of  transcription,  it  is  a  pleasure  to  come  across 
real  organ  music. 

With  best  regards,  I  am, 

Yours  very  truly, 

ERNEST  R.  KROEGER. 


RESUME  OF  ILLINOIS 
COMPOSERS 

(Read  before  the  Illinois  State  Teachers'  Association  at 
Centralia,  111.,  1915.    William  Dawson  Armstrong. 

Our  President  of  the  Illinois  Music  Teachers' 
Association  has  invited  me  to  write  a  paper  on  this 
subject  and  I  have  not  yet  conjectured  why  he  asked 
me  to  do  so,  unless  it  be  that  I  am  one  of  the  past  presi- 
dents of  this  Association  and  probably  know  from 
personal  experience,  more  of  these  composers  and  their 
works  than  any  one  in  the  state. 

The  Illinois  composers  may  be  divided  into  two 
classes:  those  born  in  the  state,  and  those  who  have 
either  lived  in  the  state  or  have  adopted  it  as  their  place 
of  residence.  Of  the  former  there  are  few;  of  the  latter, 
a  good  many. 

In  order  to  understand  the  possibilities  of  our 
Illinois  composers,  it  might  be  well  to  mention  some  of 
the  early  conditions. 

The  first  musical  endeavor  was  in  the  church.  This 
of  course  was  very  primitive  and  was  brought  from  the 
East  by  the  early  ministers,  missionaries  and  music 
loving  people.  They  sang  the  psalms  and  hymns  of 
Wesley,  Mason,  Billings  and  others.  This  was  followed 
by  the  singing  school  with  the  visiting  teacher,  who 
little  by  little  cultivated  a  love  for  and  the  appreciation 


116  William  Dawson  Armstrong 

of  music.  An  occasional  oratorio  chorus  would  be 
studied  and  some  of  the  easier  cantatas  rendered. 

With  the  up-building  of  Chicago,  Jacksonville, 
Peoria,  Rock  Island,  Alton,  Cairo  and  other  cities  came 
the  demand  for  the  visiting  artist.  Rubenstein,  Gotts- 
chalk  and  other  public  performers  visited  these  cities 
and  awakened  an  interest  in  music.  Then  came  the 
war.  For  a  time  there  was  a  cessation  of  all  musical 
activities  and  up  to  this  period  nothing  had  been 
accomplished  of  any  value  in  the  way  of  musical  com- 
positions. After  the  war,  the  above  mentioned  artists, 
with  others  visited  Illinois  and  with  the  establishment 
of  schools  of  music  in  different  quarters,  there  settled 
at  this  point  foreign  teachers,  and  these,  together  with 
the  local  musicians,  formed  the  first  nucleus  of  the 
musical  life  of  Illinois. 

In  the  front  rank  of  the  musical  profession,  Mr. 
Emil  Liebling  is  readily  accorded  a  foremost  place,  as 
well  as  through  the  scope  and  breadth  and  many-sided 
characteristics  of  his  musical  skill  and  knowledge,  as  by 
the  brilliancy  of  his  performance  as  a  piano  virtuoso. 
He  was  born  in  Pless,  Germany,  in  1857,  and  is  one  of 
four  brothers,  all  distinguished  in  musical  life.  Emil 
Liebling  came  young  to  America,  and  engaged  for  sev- 
eral years  in  teaching  in  schools  and  colleges.  His 
intellectual  mold  was  such  that,  as  stated  in  Freund's 
Music  and  Drama,  he  soon  "acquired  the  thorough 
American  adaptability  characteristic  of  the  best  order 
of  German  minds  only."  When  he  had  attained  a  posi- 
tion that  enabled  him  to  devote  time  to  higher  training, 
he  went  to  Berlin,  where  for  several  years  he  engaged, 
in  part,  in  study  under  Kullak,  Ehrlich  and  Liszt,  and 
in  part,  teaching  the  piano  in  Kullak's  Conservatory  of 


American  Composer  117 

Music.  Here  he  acquired  the  friendship  of  such  distin- 
guished artists  as  W.  H.  Sherwood,  Scharwenka, 
Moszkowski,  Sternberg  and  others,  and  moved  in  an 
atmosphere  admirably  adapted  to  elevate  and  enlarge  a 
musical  mind  naturally  gifted  toward  the  highest  plane 
of  art.  Nor  was  his  culture  confined  to  the  art  of  music 
alone;  he  acquired  literary  attainments  of  a  high  order, 
and  is  not  only  an  accomplished  linguist  but  a  graceful, 
fluent,  and  forcible  writer,  who,  in  contributions  to 
American  musical  journals,  has  proved  himself  a  com- 
petent critic,  of  well  balanced  and  judicial  judgment 
and  an  infallible  instinct  of  recognition  for  true  art,  as 
distinguished  from  superficial  shallowness  or  mere  pre- 
tense: he  is  known  as  a  musical  reviewer,  as  implacably 
merciless  towards  the  latter,  as  considerate  and  encour- 
aging toward  the  former.  On  returning  to  Chicago  in 
1876,  he  astonished  and  delighted  the  musical  circles  by 
the  refinement  of  a  technique  always  brilliant  and 
resourceful,  the  intelligence  and  poetry  of  his  interpre- 
tations and  the  rare  power, which  he  possesses  to  a  simply 
marvelous  degree,  of  adapting  himself  with  equal  facility 
and  perfection  to  either  the  classical  or  modern  schools 
of  piano  music.  Of  Bach  he  is  one  of  the  most  perfect 
exponents  of  his  day,  interpreting  the  master's  compo- 
sitions, not  only  with  conscientious  fidelity  and  une- 
qualed  skill,  but  elucidating  the  spirit  and  motive  of  the 
music  with  an  intelligence  and  power  not  often  witnessed. 
And  yet  he  could  turn  to  Liszt,  and  with  equal  mastery 
portray  the  spirit  and  brilliancy  of  that  master  with  a 
vividness  and  superb  effect  not  excelled  by  the  highest 
representatives  of  this  school.  In  every  epoch  of  piano 
music  he  was  equally  at  home,  and  whether  it  be  Bee- 
thoven, Chopin,  Schumann  or  Mendelssohn,  he  enters 


118  William  Dawson  Armstrong 

into  and  identifies  himself  with  the  emotional  content 
of  the  subject,  and  infuses  into  the  instrument  the  very 
spirit  of  the  composer.  He  added  the  highest  fluency  of 
finger  technique,  and  unerring  musical  instinct  and  a 
refined,  artistic  sensibility.  His  recitals  have  become 
musical  events  of  the  best  order,  and  cover  a  remark- 
ably wide  range  of  works,  including  nearly  everything 
from  Moszkowski,  Scharwenka,  Tschaikowsky,  Sgam- 
batti  and  Saint-Saens,  as  well  as  Bach,  Beethoven, 
Mendelssohn,  Schumann  and  Chopin,  which  he  plays 
without  notes,  and  as  that  discriminating  critic,  Mr. 
Matthews,  says,  "with  the  genuine  ease  that  belongs 
only  to  a  master."  He  has  also  a  brilliant  record  in 
chamber  music.  His  public  work  has  been  extensive, 
embracing  concerts  in  Berlin,  where  he  was  eulogized 
by  the  most  conservative  critics,  in  Steinway  Hall,  New 
York,  and  other  cities  since  1877,  with  Theodore 
Thomas  in  orchestra,  with  Wilhelmj,  the  violinist,  and 
a  vast  amount  of  work  in  Chicago,  where  he  enjoys 
unlimited  popularity  in  cultured  circles,  and  especially 
in  the  best  walks  of  musical  life.  Mr.  Liebling  has 
exercised  a  very  active  and  important  influence  in 
developing  musical  taste  upon  higher  lines,  and  extend- 
ing the  knowledge  and  appreciation  of  the  best  forms 
of  music  by  his  masterly  exemplification  of  its  power 
and  beauty.  As  a  composer  he  has  won  distinction,  and 
has  the  capacity  to  perform,  as  we  may  fairly  anticipate, 
distinguished  services  in  the  future  for  the  elevation  of 
American  creative  art.  His  compositions  include: 
Florence,  Valse  de  concert;  Meteore,  galop;  Feu  Follet; 
Albumblatt,  a  Gavotte  Moderne  for  the  piano,  a  collec- 
tion of  scales,  and  a  song  entitled,  Adieu. 

All  of  Mr.  Liebling's   brothers   are   distinguished 


American  Composer  119 

as  pianists.  Mr.  Max  Liebling  has  been  for  many  years 
a  prominent  accompanist  and  conductor  in  New  York, 
whence  he  has  gone  out  from  time  to  time  with  concert 
companies.  His  brother  Saul  is  a  brilliant  concert 
pianist  with  a  high  European  reputation.  He  was  much 
esteemed  by  Liszt.  A  still  younger  brother,  George, 
has  an  enormous  repertoire  and  a  phenomenal  technique. 
He  has  made  several  highly  successful  concert  tours  in 
Europe. 

William  Lewis,  of  Chicago,  was  a  concert  player  in 
the  days  when  the  standard  was  lower  than  now,  and 
his  story  is  the  interesting  one  of  the  self-made  Ameri- 
can boy,  who  by  his  own  exertions  makes  himself 
master  of  one  of  the  most  difficult  arts  in  practical 
music,  that  of  the  higher  playing  of  the  violin — since  for 
its  proper  performance  it  needs  mature  and  refined 
perceptions  of  harmonic  relations,  to  the  farthest  extent 
that  modern  composers  go,  and  a  taste  for  and  under- 
standing of  the  art  of  singing  in  its  highest  application, 
namely,  to  melodies  of  the  most  refined  and  poetic  kind. 
Mr.  Lewis  was  born  in  Devonshire,  England,  in  1837. 
His  parents  moved  to  Ohio,  near  Cleveland,  when  he 
was  still  a  boy,  but  he  had  become  a  very  good  violinist 
before  leaving  England.  They  being  farmers,  William 
had  to  plow  corn,  and  pursue  other  rural  occupations 
not  to  his  liking,  for  he  would  be  a  violinist.  It  happened 
one  summer  that  the  "  Black  Swan "  was  to  sing  in 
Cleveland  upon  a  certain  evening ;  this  concert  was  the 
goal  of  the  aspiring  boy's  hope.  He  thought  of  it  by  day 
and  dreamed  of  it  by  night.  At  length  the  day  came 
near,  and  one  afternoon  the  desperate  lad  hitched  the 
team  in  a  fence  corner,  and  went  across  lots  to  the  depot 
where  he  got  upon  a  freight  train  to  go  to  Cleveland. 


120  William  Dawson  Armstrong 

He  succeeded  in  working  his  way,  and  arrived  in 
Cleveland  without  friends  or  money.  Dressed  in  his 
farm  clothes  he  went  to  the  hotel  where  Colonel  Wood, 
the  manager  of  the  colored  singer,  was  stopping,  and 
introduced  himself  and  stated  his  wishes.  Wood  sent 
out  for  a  violin  and  made  him  play  for  him  then  and 
there.  The  boy's  talent  was  so  evident  that  he  bought 
him  a  suit  of  clothes,  and  had  him  play  a  solo  that  night 
and  the  next.  He  then  sent  him  home  with  $20.00  in 
money.  The  sight  of  the  money  pacified  the  irate  father, 
and  from  that  time  the  boy  was  free  to  follow  his  incli- 
nation. It  would  take  long  to  recount  his  after-career, 
as  orchestra  player  in  Chicago,  solo  violinist  in  various 
concert  companies,  dealer  in  musical  instruments,  and 
the  like,  but  it  would  be  unfortunate  to  lose  sight  of 
two  points  in  his  record,  which  deserve  to  distinguish 
him  honorably  on  the  rolls  of  fame.  The  first  is  his 
activity  as  director  of  chamber  concerts  in  Chicago, 
where,  in  connection  with  various  musicians,  but  espec- 
ially Carl  Wolfsohn,  Mr.  Liebling  and  Agnes  Ingersoll, 
he  maintained  some  of  the  most  important  series  of 
chamber  concerts  given  in  the  city.  His  other  greatest 
point  is  his  record  as  teacher,  he  also  wrote  some  small 
violin  pieces.  Among  the  many  talented  pupils  he  has 
had  who  are  now  occupying  important  positions,  no  one 
reflects  higher  honor  upon  him  than  the  most  accom- 
plished player,  Maud  Powell. 

At  the  head  of  the  piano  department  of  the  Chicago 
Conservatory  stood  for  many  years  an  artist  who  was 
not  only  one  of  America's  most  celebrated  pianists,  but 
also  an  artist  of  recognized  eminence  in  Europe  as 
well.  William  H.  Sherwood  was  a  native  American, 
born  in  Lyons,  N.  Y.,  January  31,  1854,  his  father,  Rev. 


American  Composer  121 

L.  H.  Sherwood,  M.  A.,  being  a  cultivated  musician, 
and  the  founder  of  the  Lyons  (N.  Y.)  Musical  Acad- 
emy. In  early  boyhood  he  evinced  a  remarkable  talent 
for  music,  and  received  very  careful  training  from  his 
father,  by  which  he  profited  so  well  that  between  the 
ages  of  nine  and  eleven  he  made  frequent  public  ap- 
pearances in  New  York,  Pennsylvania  and  Canada, 
attracting  much  attention  both  by  the  skillfulness  of  his 
playing  and  the  precocity  of  his  genius.  From  1866  to 
1871  he  was!  partly  occupied  with  teaching  in  his 
father's  school,  but  mainly  devoted  to  the  acquisition 
of  a  literary  education,  though  designing  music  as  his 
permanent  profession.  In  1871  he  became  the  pupil  of 
Dr.  William  Mason,  at  the  time  holding  a  normal  insti- 
tute in  Binghampton,  N.  Y.,  but  in  the  fall  of  the  same 
year,  by  Mr.  Mason's  advice,  he  placed  himself  under 
the  instruction  of  Kullak,  at  Berlin,  also  studying  theory 
and  composition  under  the  renowned  theorist  Carl 
Friederich  Weitzmann.  So  rapid  was  his  advance  that 
within  seven  months  he  was  one  of  those  selected  to 
play  at  Kullak's  annual  concert  at  the  Singakademie, 
where  he  executed  Chopin's  Fantasia  in  F  minor 
with  such  skill  as  to  elicit  great  applause.  Among 
others  who  took  part  in  this  event  were  such 
pianists  as  Scharwenka,  Moszkowski  and  Nicode,  who 
have  since  become  famous  as  solo  pianists.  Leaving 
Berlin  for  a  short  time  to  recruit  his  health,  he  studied 
composition  at  Stuttgart  under  Doppler,  for  several 
months,  returning  to  Berlin  and  continuing  his  studies 
under  Kullak  and  Weitzmann.  The  following  season  he 
played  the  great  E  flat  concerto  of  Beethoven,  accom- 
panied by  a  large  orchestra,  before  an  audience  of 
4,000  people,  Wuerst,  royal  kapellmeister,  conducting, 


122  William  Dawson  Armstrong 

with  such  success  that  at  the  close  of  the  performance 
he  was  recalled  eight  times.  This,  in  the  face  of  the 
most  musical  community  of  the  world,  and  of  an  exist- 
ing prejudice  against  American  talent  as  something  less 
than  mediocre,  was  a  triumph  of  which  in  itself  Ameri- 
can art  may  feel  proud.  His  success  cfid  not  stop  here; 
his  talent  forced  recognition  in  the  world  of  composition. 
He  had  at  this  time  (1873)  several  PF  pieces  that  were 
favorably  received.  His  Gapriccio  (Op.  4)  was  printed 
later  on  by  Breitkopf  &  Hartel,  and  Ops.  1,  2,  and  3, 
printed  by  Behr  of  Berlin,  were  used  for  didactic  pur- 
poses by  Theodor  Kullak,  in  his  more  advanced  classes. 
The  following  year  he  devoted  to  the  development  of 
technique  and  touch,  and  in  the  fall  was  married  to 
Miss  Mary  Fay,  a  talented  pianist  of  Williamsburg,  N. 
Y.,  then  studying  under  Kullak  at  Berlin.  In  February, 
1875,  he  studied  counterpoint  and  composition  under 
Richter,  at  Leipzig,  for  some  months,  when  he  went  to 
Weimar  on  the  arrival  of  Liszt  at  that  place.  This  great 
master  was  warm  in  his  appreciation  of  the  young 
American,  became  god  father  of  his  first  child,  and  at 
his  last  matinee  of  the  season  had  Sherwood  to  play 
two  numbers  belore  a  distinguished  audience.  He  went 
to  Hamburg  where  he  made  six  successful  appearances, 
and  February  18,  1876,  at  the  Singakademie,  Berlin, 
gave  a  concert,  in  which  he  was  assisted  by  his  wife, 
which  was  highly  praised  by  the  German  musical  press. 
"In  this  concert,"  said  an  eminent  critic,  "Mr.  Sher- 
wood, a  young  American,  proved  himself  the  blood 
brother  of  the  titan  Rubenstein."  He  now  returned  to 
America  and  played  in  Boston,  New  York,  Philadel- 
phia, Cincinnati,  Chicago  and  other  cities,  with  great 
success,  establishing  a  reputation  as  a  pianist  which  he 


American  Composer  123 

has  ever  since  maintained  and  enhanced.  During  the 
Philadelphia  Centennial  Exhibition  he  appeared  before 
enormous  audiences  at  the  Academy  of  Music,  and 
elicited  the  greatest  enthusiasm.  In  the  autumn  of  that 
year  he  settled  in  Boston,  and  though  for  a  short  time 
in  connection  with  the  New  England  Conservatory, 
has  since  devoted  himself  to  private  instruction  and 
public  appearances.  In  1877  he  gave  two  recitals  at  the 
opening  of  the  Hershey  Music  Hall,  Chicago,  and  has 
since  been  extensively  before  the  public  and  active  in 
musical  life,  especially  in  lectures  and  recitals  in  con- 
nection with  the  meetings  of  the  Music  Teachers' 
National  Association.  As  a  pianist  Mr.  Sherwood  was 
noted  for  perfection  of  technique,  power  and  delicacy 
of  expression,  and  thorough  musicianship.  In  composi- 
tion he  was  rather  finished  and  conscientious  than 
fertile,  and  though  he  did  not  burden  the  printing 
presses,  his  productions  are  such  as  to  reflect  credit 
upon  American  art.  The  principal  of  these  are  a 
Scherzo  in  E  major,  an  Idyll  in  A  minor;  Scherzo  Sym- 
phonique,  in  C  minor;  Allegro  Pattetico  and  Medea, 
with  other  productions.  Aside  from  his  eminent  abili- 
ties as  a  solo  artist,  Mr.  Sherwood  has  rendered  excep- 
tional services  to  the  art  of  piano  playing  through  his 
labors  in  establishing  a  thoroughly  scientific  method  of 
developing  the  muscles  which  are  employed  in  piano 
playing,  guided  by  his  own  wide  experience,  both  as 
player  and  instructor.  The  process  he  employs  for 
rendering  the  fingers  strong  and  at  the  same  time 
flexible  is  greatly  superior  to  those  which  were  gener- 
ally taught  even  by  the  best  teachers,  at  the  time  when 
he  made  his  own  studies,  and  are  the  outcome  of  deep 
reflection  which  was  forced  upon  him  by  his  own  needs 


124  William  Dawson  Armstrong 

during  the  period  he  was  engaged  in  developing  his 
own  technique. 

Henry  Southwick  Perkins.  This  active  and  promi- 
nent musician  was  born  in  Stockbridge,  Vt.,  March  20, 
1843.  His  active  and  prominent  musical  instruction 
was  received  from  his  father,  who  for  forty  years  was 
one  of  the  most  prominent  singing  teachers  of  the  State . 
He  obtained  his  regular  course  of  musical  instructions 
in  Boston.  For  several  years  he  taught  singing  in  public 
schools  and  conducted  large  choral  societies.  His  spec- 
ialties were  voice  culture  and  singing,  theory,  normal 
instruction  to  teachers  and  methods  of  sight  singing  and 
conducting.  In  1867-69  he  was  professor  of  music  in  the 
University  of  Iowa,  and  was  principal  of  the  Iowa 
Academy  of  Music  at  Iowa  City  for  five  consecutive 
years,  also  the  Kansas  Normal  Music  School  for  five 
consecutive  summers.  For  twenty-five  years  about 
one  half  of  his  time  was  devoted  to  conducting  musical 
conventions,  festivals  and  normal  music  schools,  includ- 
ing all  the  states  and  territories.  He  has  edited  thirty 
one  singing  books,  ranging  from  a  set  of  graded  music 
readers  to  choir  anthem  books  and  festival  chorus 
books,  some  of  which  have  been  exceedingly  popular. 
His  (copyright)  chart  and  blackboard,  or  method  for 
elementary  sight  singing  and  reading  course  is  highly 
recommended  by  many  of  the  best  vocal  and  instru- 
mental teachers.  In  1875  he  visited  Europe  for  study 
and  observation,  traveling  into  the  lands  of  the  Pharos. 
During  the  tour  he  studied  voice  in  Paris  under  Wartel 
and  in  Florence  under  Vannuccini.  He  was  one  of  the 
organizers  of  the  Music  Teachers'  Association,  and 
read  a  paper  on  "  The  Object  of  Musical  Associations 
and  Conventions."    He  has  held  every  office  in  the 


American  Composer  125 

Association  excepting  that  of  president,  and  is  believed 
by  many  to  have  saved  it  from  death  in  1882,  when  it 
met  for  the  first  time  in  Chicago.  The  other  two  mem- 
bers of  the  executive  committee  having  deserted  it,  he 
was  responsible  for  the  whole  expense  as  well  as  for 
getting  up  the  programme.  He  inaugurated  at  this 
meeting  the  principle  that  no  artist  should  be  paid  for 
playing  or  singing  at  the  annual  meetings,  which  policy 
has  been  adhered  to  since  excepting,  of  course,  orches- 
tra players.  In  1886  he  organized  the  Illinois  Music 
Teachers'  Association,  was  chosen  president  and  re- 
elected for  1888,  and  again  in  1889-90,  at  the  meeting 
held  in  Peoria.  He  has  done  considerable  literary  work, 
especially  as  correspondent  of  musical  journals  and 
magazines,  and  as  musical  critic.  Socially  and  mentally, 
Dr.  Perkins  stood  among  the  first  in  the  profession,  a 
man  of  energy,  talent  and  efficiency. 

The  Root  family  has  been  intimately  and  promi- 
nently associated  with  American  music  for  a  number 
of  years,  and  the  eminence  achieved  by  Frederick  W. 
Root,  who  is  still  a  young  man,  indicates  that  the  name 
will  be  associated  with  the  art  of  this  country  for  a 
number  of  years  to  come.  For  several  generations  the 
members  of  the  Root  family  have  been  known  as 
singers,  players  and  choir  leaders.  His  father,  Dr. 
George  F.  Root,  is  known  wherever  English  songs  are 
sung.  The  subject  of  this  sketch  was  born  at  Boston, 
June  13,  1846.  His  early  musical  studies  were  pursued 
under  parental  guidance  and  at  the  age  of  fourteen  he 
was  placed  under  the  tutelage  of  Mr.  B.  C.  Blodgett, 
then  a  talented  young  pianist  newly  graduated  from  the 
Leipzig  Conservatory.  He  progressed  rapidly  with  his 
subsequent  instructors,  Dr.  William  Mason  in  New 


126  William  Dawson  Armstrong 

York,  and  Mr.  Robert  Goldbeck  in  Chicago.  He 
studied  the  organ  principally  with  Mr.  James  Flint,  and 
at  one  of  the  evening  services  of  the  Madison  Square 
church  he  made  his  first  appearance  as  an  organist.  In 
1863  Dr.  Root  removed  to  Chicago  and  in  that  city  and 
vicinity  Frederick  assisted  his  father  as  pianist  and 
assistant  conductor  at  several  conventions  and  numer- 
ous concerts.  Having  acquired  the  rudiments  of  voice 
culture,  he  studied  with  Carlo  Bassini,  in  New  York, 
and  in  1869  went  on  an  European  tour,  devoting  three 
years  to  study  and  recreation,  visiting  all  points  of 
interest  from  the  north  of  Scotland  to  the  south  of  Italy. 
In  Germany  he  studied  piano,  and  in  Italy,  under  the 
celebrated  Vannuccini,  he  continued  the  acquirement 
of  voice  culture.  Upon  his  return  he  located  in  Chicago, 
where  he  has  remained  ever  since,  building  up  the 
enviable  reputation  he  has  made  as  a  vocal  teacher.  In 
1889  he  was  elected  upon  the  Board  of  Examiners  of 
the  American  College  of  Musicians,  and  by  the  Music 
Teachers'  National  Association,  chairman  of  a  commit- 
tee to  formulate  a  course  of  vocal  instruction  for  adop- 
tion by  the  association.  Several  years  ago  Mr.  Root 
introduced  the  system  of  class  teaching  in  Chicago, 
and  he  obtained  remarkable  success  in  this  specialty. 
It  is  in  this  that  all  his  logic,  magnetism,  humor  and 
illustrative  ability  come  to  the  front.  His  work  in  this 
field  has  been  so  fruitful  that  he  was  invited  to  read  a 
paper  upon  the  subject  before  the  Music  Teachers' 
National  Association  in  1887.  He  is  also  known  as  a 
private  teacher  of  rare  success,  many  of  his  pupils  being 
well  known  singers  in  concert  and  opera.  He  is  a  very 
busy  man  and  has  more  applications  from  pupils  than 
he  can  accept. 


American  Composer  127 

Mr.  Root  is  of  medium  size,  looks  younger  than  he 
really  is,  which,  according  to  him,  is  a  great  incon- 
venience sometimes,  is  married,  has  three  child- 
ren, and  lives  in  Hyde  Park,  one  of  the  suburbs  of 
Chicago.  A  sister,  Mrs.  Louise  Burnham,  is  the  author 
of  No  Gentlemen,  A  Sane  Lunatic,  Dearly  Bought, 
Next  Door,  etc.  Another  sister  is  a  successful  artist. 
He  is  a  member  of  the  Chicago  Literary  Club,  an  old 
and  exclusive  organization,  embracing  in  its  ranks  the 
most  distinguished  men  of  Chicago. 

Mr.  Root  is  also  well  known  as  a  composer,  chiefly 
of  songs  and  choral  works.  He  was  editor  of  the  Song 
Messenger  for  a  number  of  years,  and  he  still  contrib- 
uted articles  to  daily  papers  and  periodicals  on  musical 
subjects.  He  is  a  thorough  American  in  his  ideas  and 
sentiments,  as  well  as  a  most  genial  and  companionable 
gentleman.  No  teacher  in  America  is  a  greater  favorite 
with  his  pupils  and  his  friends  than  Mr.  Root  and  his 
labors  for  music  in  Chicago  have  been  of  the  greatest 
importance  and  value. 

Calvin  B.  Cady.  Though  a  young  man,  this  gentle- 
man takes  a  high  rank  in  the  limited  number  of  genuine 
artists  who  are  engaged  in  the  educational  department 
of  music.  He  was  born  at  Barry,  Pike  County,  Illinois, 
June  21,  1851.  As  he  himself  relates:  "  I  have  sung  in 
choruses  ever  since  I  was  a  boy  of  nine.  Don't  know 
how  I  learned  to  read.  Learned  to  play  on  an  old 
melodeon,  and  also  played  drum,  fife,  flute  and  guitar.  In 
fact,  I  had  the  knack  of  picking  up  instruments  in  general." 
In  his  boyhood  he  came  to  Chicago  and  became  a  piano 
tuner  in  the  store  of  Root  &  Cady,  Mr.  Cady  of  the 
firm  being  his  uncle.  In  this  way  he  accumulated  funds 
for  his  first  serious  study  at  Oberlin  College,  Ohio, 


128  William  Dawson  Armstrong 

where  he  was  a  student  of  both  literature  and  music, 
and  made  the  best  use  of  his  time  in  every  direction, 
including  occasional  chorus  conducting  among  his  other 
opportunities,  and  for  two  years  had  charge  of  music  in 
the  public  schools.  He  then  spent  three  years  at  the 
Leipzig  Conservatory,  and  also  pursued  private  lessons 
with  Dr.  Paul,  Dr.  Papperitz,  Richter,  Plaidy  and 
Kretchmar.  Returning  after  his  term  of  hard  and  con- 
scientious work  with  a  broadened  musical  vision  and  a 
competent  equipment,  he  taught  from  1874  to  1879  in 
Oberlin.  In  1880  the  chair  of  music  at  the  University  of 
Michigan,  at  Ann  Arbor,  was  created  for  him,  and  he 
occupied  it  with  credit  to  himself  and  profit  to  the 
institution  for  the  period  of  eight  years.  He  brings  to 
the  Chicago  Conservatory,  where  he  will  find  probably 
a  wider  sphere  of  usefulness,  a  matured  experience 
united  to  proved  ability  as  a  musician  in  the  very  best 
sense  of  the  term.  He  has  been  during  his  career 
active  in  every  work  calculated  to  promote  the  interests 
of  the  art.  He  was  one  of  the  founders  of  the  Music 
Teachers'  National  Association,  and  the  American  Col- 
lege of  Musicians,  and  has  always  maintained  his  interest 
in  these  useful  organizations.  W.  S.  B.  Matthews  wrote 
in  the  Elite  News  a  couple  of  years  ago:  "  I  have 
known  for  a  long  time  that  Cady  is  one  of  the  most 
profound  musical  thinkers  in  the  country,  and  one  of 
the  few  piano  teachers  who  are  veritable  educators." 
Mr.  Cady  has  also  some  literary  skill  of  no  common 
order,  and  many  of  his  articles  in  American  musical 
journals  have  had  the  honor  of  reproduction  in  the 
English  journals.  He  is  one  of  those  who  will  leave  in 
the  musical  work  of  his  life  a  strong  impress  upon  the 
progress  of  the  art  in  America.   He  has  an  idea  and 


American  Composer  129 

a  method  in  his  teaching,  and  an  object  in  the  career  of 
his  students  which  looks  to  something  higher  than  what 
is  termed  in  other  art  study  the  results  of  "  cramming." 
He  prefers  to  see  the  student  thoroughly  grounded  in 
the  true  idea  and  principles  of  music  rather  than  to 
turn  him  out  with  a  brilliant  equipment  of  pieces  for 
practice,  but  without  any  true  musical  comprehension 
of  his  own. 

Adolph  Koelling.  This  accomplished  artist,  who 
was  at  the  head  of  the  department  of  composition  in 
Chicago  Musical  College,  acquired  his  musical  instinct 
by  inheritance,  his  father  having  been  a  prominent 
orchestra  player  at  Hamburg,  Germany,  where  the 
subject  of  this  sketch  was  born  February  9,  1840.  He 
began  his  art  study  at  the  age  of  eight,  under  his  elder 
brother,  Karl,  who  had  already  gained  a  reputation  as 
composer  of  pianoforte  salon  music.  Two  years  later  he 
began  to  study  with  Degenhardt,  organist  of  St.  Cath- 
erine's church,  Hamburg,  and  in  1856  commenced  a 
course  of  study  in  theory  and  composition  with  Edward 
Momen,  the  instructor  of  Johannes  Brahms.  A  year 
later  he  entered  the  field  of  composition,  with  the  pro- 
duction of  pianoforte  variations,  which,  as  performed 
by  himself,  elicited  high  praise.  After  studying  counter- 
point and  fugue  under  Graedener,  he  went  to  London 
to  teach,  meeting  with  good  success,  but  was  soon 
obliged  by  family  affairs  to  return  to  Hamburg,  where 
he  now  studied  instrumentation  under  A.  F.  Riccius, 
and  devoted  himself  assiduously  to  the  pianoforte.  In 
1867  he  had  the  gratification  of  seeing  his  pianoforte 
quartette  (Op.  1)  performed  by  four  leading  musicians 
of  Germany,  on  which  occasion  his  production  was 
highly  commended  by  Brahms.  This  was  subsequently 


130  William  Dawson  Armstrong 

published  by  Fritz  Schubert  and  has  become  a  piece  de 
resistence  in  the  repertoire  of  quartette  societies.  His 
second  important  work  was  a  sonata  for  pianoforte  and 
violin,  published  by  Pohle,  which  has  been  favorably 
criticised  by  David  and  other  eminent  critics.  He  has 
written  three  charming  minor  pieces,  a  Walzer  Caprice, 
Albumblaettchen  and  Polonaise  Caprice  for  pianoforte, 
published  by  Schubert.  In  1872  Mr.  Koelling  accepted 
a  call  to  Cottage  Hill  Seminary,  Poughkeepsie,  N.  Y. 
The  following  is  a  complete  list  of  his  compositions: 
For  Piano — scherzo  in  F  sharp  minor;  sonata  in  C 
minor;  sonata  in  C  major;  six  scherzos;  six  variations  in 
G  major  on  the  Russian  National  Hymn;  ten  variations 
in  A  flat  major;  six  characteristic  pieces:  Barcarolle, 
Gavotte,  Galop  Caprice,  Valse  Impromptu,  Serenata 
and  Valse  Gracieuse;  Pensee  Fugitive,  fantasie  in  F 
minor,  impromptu  in  B  major;  Deuxieme  Valse  Grac- 
ieuse— fantasie  polonaise  in  E  major;  three  exercises  in 
octaves;  Valse  des  Danaides  (two  or  four  hands);  three 
Clavierstuecke:  (a)  Album  Blaettchen,  (b)  Polonaise 
Caprice,  (c)  Valse  Caprice.  For  piano  and  string- 
quartette  in  C  minor  for  piano,  violin,  viola  and  'cello; 
trio  in  E  major  for  violin,  'cello  and  piano;  sonata  in  D 
and  sonata  in  B  for  piano  and  violin,  and  three  pieces 
for  'cello  and  piano.  For  string  only— quartette  in  F 
minor;  quartette  in  C  minor;  quartette  in  B  major; 
Gavotte  for  string  orchestra.  Songs — Found  (Goethe); 
The  Beautiful  Maiden;  song  for  soprano  in  E  major; 
two  sacred  airs:  To  Thee,  My  God  and  Savior  (alto), 
and  My  Blessed  Savior  (alto  and  tenor).  For  voice  and 
organ — hymn  anthem;  Deus  Misereatur  in  G;  Festival 
Te  Deum;  mass  in  D  minor,  and  sacred  air  for  bass, 
We  Praise  Thee,  O  God.  He  has  also  written  twenty- 


American  Composer  131 

five  songs  for  male  voices  and   six   songs   for  mixed 
voices,  with  accompaniment. 

When  Mr.  Reginald  de  Koven  was  barely  thirty 
years  old,  he  had  accomplished  a  great  deal  of  good 
work  for  a  young  musician.  He  was  born  at  Middle- 
town,  Conn.,  in  1859,  at  the  old  family  homestead.  His 
father  was  an  Episcopal  clergyman,  and  some  of  his 
ancestors  figured  gallantly  in  the  American  revolution. 
Reginald  never  attended  a  public  school.  His  father 
gave  him  his  early  education.  He  taught  the  lad  French, 
German,  Italian  and  the  dead  languages.  At  the  age  of 
eleven  his  parents  took  him  to  Europe,  and  he  remained 
there  about  twelve  years.  He  was  educated  at  St.  John's 
College,  Oxford,  and  was  chiefly  in  the  line  of  history 
and  belles  lettres.  Previous  to  taking  his  degree  he 
had  studied  piano  playing  at  Stuttgart  under  Wilhelm 
Speidel,  with  the  idea  of  becoming  a  professional.  On 
quitting  Oxford,  he  went  back  to  Stuttgart  for  another 
year  and  studied  harmony  and  the  piano  under  Dr. 
Lebert  and  Prof.  Prucker.  Then  for  six  months  at 
Frankfort  he  studied  harmony  and  counterpoint  with 
Dr.  Huff,  an  eminent  authority  on  musical  treatises, 
At  Florence,  Italy,  he  studied  singing  under  Vanuccini. 
He  first  came  to  Chicago  in  the  autumn  of  1882.  His 
first  compositions  were  songs  and  he  has  written  over 
fifty  ballads,  which  combine  musical  taste  with  melody 
sufficient  to  win  popular  favor.  He  has  also  written  a 
score  or  more  of  piano  compositions,  several  of  which 
have  become  favorites  with  concert  pianists,  while  his 
songs  are  frequently  found  on  concert  programmes. 
A  tarantelle  and  gavotte  are  his  most  successful  works 
for  orchestra.  It  is  as  a  composer  of  light  opera  that  he 
manifests  the  most  decided  talent.   His  two  operas, 


132  William  Dawson  Armstrong 

The  Begum  and  Don  Quixote,  have  both  attained  a 
high  degree  of  success  with  the  public.  He  perfected 
his  study  of  the  orchestra  and  the  art  of  writing  light 
opera  under  the  tuition  of  Genee  and  Suppe,  both 
masters  of  this  branch  of  art. 

W.  C.  E.  Seeboeck,  pianist  and  composer,  who 
was  three  years  connected  with  the  Chicago  School  of 
Vocal  and  Instrumental  Art,  was  born  in  Vienna, 
Austria,  August  21,  1859,  where  his  father  carried  on  a 
commission  and  banking  business.  His  mother,  though 
never  appearing  in  public,  was  an  accomplished  vocal- 
ist, and  pupil  of  Marchesi,  and  from  this  source  young 
Seeboeck  inherited  a  musical  talent  which  led  to  his 
entering  the  study  of  music  when  only  eight  years  of 
age.  At  ten  he  was  placed  under  Gradener  in  piano, 
and  had  instructions  also  from  Epstein  and  Grill,  and 
in  harmony  and  composition  from  Nottenohm.  In  1875 
he  studied  under  Johannes  Brahms,  then  in  Vienna. 
During  this  time  he  also  acquired  a  thorough  collegiate 
education  attending  the  Theresianum,  a  state  gymnas- 
ium, where  he  was  a  brilliant  student,  and  acquired  a 
high  degree  of  literary  proficiency.  In  1877  he  was  sent 
to  St.  Petersburg,  and  remained  for  sixteen  months  a 
student  of  music,  also  enjoying  the  personal  intimacy 
and  warm  regard  of  Anton  Rubinstein.  Returning  to 
Vienna,  on  the  death  of  his  father,  he  determined  to  go 
to  America,  and  accordingly  came  direct  to  Chicago. 
Here  he  at  once  entered  the  profession  of  teaching, 
with  much  success,  and  became  the  first  year  of  his 
residence  pianist  for  the  Apollo  Club,  a  position  which 
he  has  ever  since  retained.  For  several  years  he  was 
choirmaster  and  organist  of  the  Jefferson  Park  Presby- 
terian church.   He  also  for  one  time  taught  harmony 


American  Composer  133 

and  composition  in  Chicago  Musical  School.  He  is  a 
superb  executant,  and  has  participated  in  a  great  many 
important  concert  events  in  Chicago.  He  has  a  remark- 
able facility  in  composition,  and  his  work  is  distinguished 
for  its  brilliancy  and  musical  poetry.  April  21st,  his 
opera,  the  Missing  Link,  libretto  by  W.  H.  Edwards, 
was  put  on  the  boards  at  Central  Music  Hall.  While 
the  libretto  was  inferior,  the  music  was  much  admired, 
but  a  defaulting  treasurer  brought  the  venture  to  a 
sudden  end  after  three  performances.  Mr.  Seeboeck 
has  done  much  to  advance  the  cause  of  musical  culture 
in  Chicago  by  numerous  piano  recitals,  concerts,  etc. 
He  read  every  kind  of  music  at  sight,  and  had  a  unique 
gift  in  this  respect.  In  1890  he  was  engaged  upon  a  grand 
opera,  which  was  produced  in  Munich,  Bavaria,  during 
the  season  1891-92.  Portions  of  this  work  were  rehearsed 
during  the  year,  when  Mr.  Seeboeck  visited  Europe  to 
confer  with  those  concerned  in  the  production  of  his 
work,  and  great  anticipations  in  artistic  circles  were 
aroused.  On  this  occasion  he  visited  Paris,  and  a  letter 
from  Sara  Hershey  Eddy,  of  August  6th,  said:  "  Mr. 
Seeboeck  charmed  a  fine  assembly  in  a  private  salon 
during  his  visit  in  Paris  by  his  delightful  playing,  which 
was  just  as  pleasing  and  satisfying  here  as  it  was  at 
home."  An  artist  is  an  artist  the  world  over.  The 
fertility  of  his  pen  is  remarkable.  During  his  residence 
in  Chicago  he  has  produced  167  songs,  among  the  more 
prominent  being:  Kiss  Me  Well,  said  Margaret  (Op. 
32);  Gipsy  Boy;  It  was  a  Dream,  and  a  Ship  (Op.  44); 
How  Fair  and  Sweet  and  Holy,  and  Dewdrop  (Op. 
28);  By  the  Spring  (Op.  41);  Minuet  Antique  Nos.  1 
and  2  (Op.  );  Bourree,  Nos.  1  and  2,  (Op.  15,  16  and 
16);   Berceuse   for  PF  and  Violin;  thirty-two  concert 


134  William  Dawson  Armstrong 

etudes,  seven  Paganini  caprices,  and  twenty-two  quar- 
tettes, etc.  He  has  also  composed  fine  church  music. 
These  and  numerous  other  works  are  now  being  pub- 
lished by  Wm.  Rohlfing  &  Co.,  Milwaukee;  Brainard's 
Sons  and  Summy,  Chicago,  and  Kistner,  Leipzig,  Ger- 
many. Mr.  Seeboeck  was  a  proficient  linguist,  speaking 
English,  French  and  German  with  equal  facility. 

Dudley  Buck.  This  eminent  American  composer 
was  born  in  Hartford,  Conn.,  March  10, 1839,  his  father 
being  a  well  to  do  merchant  there.  Dudley  was  not 
intended  for  a  musician,  but  his  inclination  in  this  direc- 
tion was  too  strong  to  be  resisted.  He  had  no  piano 
and  no  instructions  until  the  age  of  sixteen,  when  he 
was  put  at  piano  study  under  Mr.  W.  J.  Babcock,  of 
Hartford,  under  whom  he  made  rapid  progress.  The 
further  he  went  in  music  the  stronger  his  inclination 
became  toward  it,  and  at  last  his  father  gave  up  his  own 
intentions  concerning  the  boy,  and  said,  "  Well,  if  you 
are  bound  to  be  a  musician,  we  will  do  it  as  it  ought  to 
be  done."  So  in  1859  the  young  musician  was  sent  to 
Leipzig  Conservatory,  where  for  eighteen  months  he 
was  the  pupil  of  Plaidy  upon  the  piano,  and  of  Julius 
Rietz,  E.  F.  Richter  and  Moritz  Hauptmann  in  com- 
position. On  the  removal  of  Julius  Rietz  to  Dresden 
where  he  was  made  director  of  the  opera  in  February, 
1860,  Buck  followed  him  there  and  continued  his  studies 
with  him,  taking  lessons  upon  the  organ  of  Frederick 
Schneider.  In  1861  Mr.  Buck  went  to  Paris  where  he 
studied  for  a  year,  spending  most  of  his  time  in  the 
government  organ  factory,  in  the  construction  and 
improvement  of  which  he  felt  great  interest.  In  1862  he 
was  back  in  Hartford  where  he  became  organist  ot 
Park  church.    His   studies   in  composition  had  been 


American  Composer  135 

comprehensive,  covering  all  the  forms  of  orchestral  and 
chamber  music,  of  which  he  brought  home  many  spec- 
imens  (to  be  subsequently  destroyed  in  the  great 
Chicago  fire).  But  at  this  time  in  America  there  was 
not  the  slightest  opportunity  for  a  young  American 
composer  to  make  himself  known  in  this  direction. 
The  only  real  opening  was  in  the  line  of  church  music. 
While  connected  with  the  Hartford  church  he  published 
his  first  Mottette  Collection,  a  work  which  marked  an 
epoch  in  American  church  music.  Several  of  Mr. 
Buck's  pieces  in  this  collection  are  still  as  fresh  as  if 
written  yesterday,  having  in  them  great  originality.  Of 
this  kind  are  The  Lord  is  King,  and  Jubilate.  One  of  the 
most  attractive  articles  of  the  work  is  the  anthem, 
Brightest  and  Best  of  the  Sons  of  the  Morning,  the 
history  of  which  is  worth  giving.  Upon  a  certain  Satur- 
day the  clergyman  handed  Dr.  Buck  the  list  of  hymns 
for  the  ensuing  day,  and  among  them  was  this  one. 
Buck  supposed  that  he  would  have  no  difficulty  in 
finding  suitable  music  for  so  brilliant  a  portion  of  the 
hymnal,  and  one  well  suited  for  musical  setting.  To  his 
surprise  he  was  unable  to  find  anything  to  his  mind. 
Accordingly  he  improvised  the  music  as  it  stands  in 
the  book,  wrote  it  out  hastily  with  pencil  and  copied 
the  parts  for  his  quartette  choir.  It  was  sung  with  great 
effect  the  next  day,  and  it  is  one  of  the  most  pleasing 
pieces  of  American  church  music.  This  book  of  Buck's 
was  notable  because  it  was  the  first  collection  published 
in  America,  in  which  modern  style  of  German  musical 
compositions  were  freely  used,  with  unlimited  freedom 
of  modulation  and  the  addition  of  an  independent  organ 
accompaniment,  after  the  best  traditions  of  the  German 
school. 


136  William  Dawson  Armstrong 

Frederic  Grant  Gleason.  Among  those  native 
Americans  who  have  developed  the  real  artistic  faculty 
in  the  field  of  composition,  and  one  who  had  become 
known  also  as  an  accomplished  and  conscientious  critic, 
is  Frederick  Grant  Gleason,  who  was  born  December 
17,  1848,  at  Middletown,  Conn.  The  gift  of  music  was 
to  him  an  inheritance,  his  father  having  been  a  finished 
amateur  flutist,  and  his  mother  an  accomplished  pianist 
and  contralto  singer.  His  parents  removed  to  Hartford, 
Conn.,  where  he  became  a  member  of  the  church 
choir,  and  soon  evinced  an  ardent  desire  for  music  as  a 
profession.  Having  been  designed  by  his  father  for  the 
ministry,  however,  his  musical  tendencies  at  first 
received  scant  encouragement.  He,  however,  perse- 
vered tenaciously,  and  at  the  age  of  sixteen  entered  the 
field  of  composition  by  the  production  of  an  oratorio, 
The  Captivity,  on  a  poem  of  Goldsmith,  which  he 
abandoned  before  completed  for  a  Christmas  Oratorio, 
the  words  selected  from  Lupton  and  Montgomery's 
version  of  the  Psalms.  Notwithstanding  his  lack  of 
acquaintance  with  harmony  and  composition  these 
works  evinced  so  undoubtedly  a  faculty  of  musical 
talent  that  opposition  to  his  art  ambition  was  withdrawn, 
and  his  father  decided  to  give  him  a  liberal  musical 
education.  Accordingly  he  was  placed  for  some  time 
under  the  care  of  Dudley  Buck,  then  living  in  Hartford, 
with  whom  he  studied  piano  and  composition,  and 
subsequently,  in  1869,  he  was  sent  to  the  Conservatory 
of  Leipzig,  Germany.  Here  he  received  instructions 
on  the  piano  by  Moscheles  and  Papperitz;  in  harmony 
by  Dr.  Richter  and  Oscar  Paul.  He  supplemented  his 
course  by  private  lessons  from  Plaidey,  and  in  compo- 
sition from  J.  C.  Lobe.  On  the  death  of  Moscheles  in 


American  Composer  137 

1870  he  removed  to  Berlin,  where  his  piano  studies 
were  continued  under  the  direction  of  Oscar  Raif,  a 
pupil  of  Tausig,  and  his  theoretical  education  completed 
under  the  renowned  Carl  FrederickWeitzmann,  a  pupil 
of  Spohr  and  Hauptmann,  who  was  later,  up  to  the  time 
of  his  retirement  from  musical  activity,  court  musician 
to  the  Empress  of  Russia.  In  1871  Mr.  Cleason  returned 
home  on  a  visit  to  his  parents,  and  soon  after  went  to 
London  for  the  purpose  of  studying  English  music, 
having  at  the  same  time  the  advantage  of  piano  study 
with  Oscar  Berringer,  another  eminent  pupil  of  Carl 
Tausig.  In  1873  he  again  went  to  Berlin,  where  he 
resumed  his  study  of  theory  under  Weitzmann,  and  also 
taking  instructions  on  the  piano  from  Prof.  Loeschorn, 
and  on  the  organ  from  Prof.  August  Haupt.  During  his 
stay  in  Berlin  on  this  occasion  he  prepared  his  work  on 
Gleason's  Motet  Collection,  published  by  W.  A.  Pond 
&  Co.,  of  New  York.  His  aim  throughout  had  been  to 
secure  thoroughness  in  his  equipment  under  the  best 
European  masters.  He  was  an  ardent  and  conscientious 
student,  improving  his  opportunities  with  unremitting 
zeal  and  industry-  On  completing  his  studies  he 
returned  to  his  family  home  at  Hartford,  where  he 
became  organist  of  one  of  the  churches,  and  later  of  a 
church  at  New  Britain,  Conn.  He  was  also  engaged 
successfuly  in  teaching  and  at  the  same  time  was  active, 
as  he  has  ever  since  been,  and  continues  to  be,  in  his 
favorite  field  of  composition,  about  that  time  completing 
his  opera,  Otho  Visconti,  a  three-act  grand  romantic 
opera,  selections  from  which  have  been  published  by 
W.  A.  Pond  &  Co.  of  New  York.  In  1876  he  removed 
to  Chicago,  where  he  was  active  in  musical  life  as 
teacher,  composer  and  critic,  having  for  a  number  of 


138  William  Dawson  Armstrong 

years  ably  filled  the  position  of  musical  editor  on  the 
Daily  Tribune. 

Mr.  Gleason's  works  in  addition  to  numerous  small 
pieces,  published  and  unpublished,  but  having  no  opus 
number,  are  in  order  as  follows:  1,  Songs  for  soprano 
voice;  2,  Organ  sonata  (G  sharp  minor);  3,  Barcarola, 
for  piano;  4,  Episcopal  church  music;  5,  Songs  for  alto 
voice;  6,  Episcopal  church  music;  7,  Otho  Visconti, 
grand  romantic  opera,  music  and  libretto;  8,  PF.  pieces; 
9,  Trio  No.  1  in  G  minor  for  piano,  violin  and  violin- 
cello;  10,  Quartettes  for  female  voices;  11,  Overture 
Triumphale,  organ;  12,  God,  Our  Deliverer,  cantata, 
solos,  chorus,  and  orchestra;  13,  Trio  No.  2  in  A  major, 
piano,  violin  and  violoncello;  14;  Culprit  Fay,  cantata 
(words  by  Jos.  Rodman  Drake),  solos,  chorus  and 
orchestra;  15,  Trio  No.  3  in  D  minor,  for  piano,  violin 
and  violincello;  16,  Montezuma,  grand  romantic 
opera  in  three  acts,  plot,  text  and  music;  17,  Praise 
Song  to  Harmony,  symphonic  cantata  solos,  male 
chorus  and  orchestra;  18,  Concerto  in  G  minor,  piano 
and  orchestra;  19,  Three  sketches,  orchestra;  20,  Audi- 
torium Festival  Ode,  a  symphonic  cantata,  solo,  chorus 
and  orchestra,  composed  for  the  dedication  of  the  Aud- 
itorium; Chicago. 

Rosseter  Gleason  Cole  was  born  in  1866  in  Michi- 
gan, educated  in  the  public  schools  of  Ann  Arbor,  and 
in  1888  graduated  from  the  University  of  Michigan  with 
the  degree  of  Bachelor  of  Philosophy.  This  distinguish- 
ed university  conferred  on  him  the  honorary  degree  of 
Master  of  Arts  in  1913,  "for  service  as  composer  and 
university  teacher  of  music."  During  his  college  course 
he  elected  all  of  the  courses  in  theoretical  music  then 
offered  in  the  university,   and  at  his  graduation  the 


American  Composer  139 

University  Musical  Society  performed  a  work  written 
during  his  senior  year,  "  The  Passing  of  Summer,"  a 
lyrical  cantata  for  solos,  chorus  and  orchestra.  The 
performance  of  this  work  by  an  under-graduate  is  the 
only  instance  of  its  kind  in  the  history  of  this  university 
and  it  aroused  deep  interest  in  the  talents  of  the  com- 
poser. This  cantata  revised  and  reorchestrated  was 
published  several  years  later  by  Novello,  Ewer  &  Co., 
(London),  and  has  since  been  performed  many  times 
by  choral  societies  in  this  country.  After  teaching  Eng- 
lish branches  and  Latin  for  two  years  in  the  Ann  Arbor 
and  Aurora  (Illinois)  high  schools,  he  went  to  Berlin, 
where  he  spent  two  years  in  advanced  musical  study 
and  composition.  Here  he  won,  through  competitive 
examination,  a  free  scholarship  under  Max  Bruch  in 
the  Royal  Master-School  for  Composition  (a  depart- 
ment of  the  Royal  Academy  of  Arts,  supported  by  the 
German  government),  and  had  the  distinction  of  being 
the  fifth  American  to  gain  entrance  into  this  school,  the 
highest  of  its  kind  in  Europe. 

On  his  return  to  America  he  entered  the  field  of 
college  work  and  held  the  position  of  Professor  of 
Music  and  Director  of  the  School  of  Music  successfully 
in  Ripon  College  (two  years),  Grinnell  College  (seven 
years)  and  the  University  of  Wisconsin  (two  years). 
Since  1902,  (with  the  exception  of  two  years  at  the 
University  of  Wisconsin),  he  has  resided  in  Chicago  as 
composer,  editor,  lecturer,  and  teacher  of  Composition 
and  Theory.  Since  1908  he  has  held  the  important  posi- 
tion of  Professor  (in  charge)  of  music  in  Columbia 
University  Summer  Session  in  New  York  City,  giving 
lecture  courses  in  harmony  and  in  the  history  and 
appreciation  of  music. 


140  William  Dawson  Armstrong 

He  has  the  unusual  distinction  of  having  served  three 
terms  as  President  of  the  Music  Teachers'  National 
Association  (in  1903,  1909  and  1910),  and  for  many 
years  has  been  prominent  in  its  affairs.  He  has  also 
served  two  terms  (1913  and  1914)  as  Dean  of  the  Illin- 
ois Chapter  of  the  American  Guild  of  Organists  and  is 
a  well-known  organist  of  Chicago. 

His  published  works  already  number  over  seventy 
including  compositions  for  voice,  piano,  organ,  'cello, 
chorus,  and  orchestra.  Of  these  over  thirty  are  songs, 
fifteen  are  piano  compositions  and  eight  are  organ. 
Among  his  larger  published  works  are:  the  cantata 
"The  Passing  of  Summer,"two  Recitations  with  elabor- 
ate musical  settings,  "  King  Robert  of  Sicily "  and 
"  Hiawatha's  Wooing,"  a  ballade  for  'cello  and  orches- 
tra (performed  by  the  Minneapolis  and  Philadelphia 
Symphony  Orchestras)  and  two  brilliant  and  massive 
organ  works  of  recent  date,  "  Fantaisie  Symphonique  " 
and  Rhapsody."  Of  his  larger  compositions  the  "  King 
Robert  of  Sicily,"  dedicated  to  David  Bispham,  has 
been  performed  by  this  great  artist  in  all  the  larger 
cities  of  this  country  (over  four  hundred  times  by 
Bispham  alone).  Mr.  Cole  has  won  special  recognition 
for  his  work  in  this  field  for,  next  to  Richard  Strauss' 
"  Enoch  Arden,"  his  "  King  of  Sicily  "  and  "  Hiawatha's 
Wooing"  are  generally  considered  as  the  finest 
example  of  this  modern  music  form.  The  "  King  Rob- 
ert "  has  been  performed  many  times  in  Paris,  in 
Berlin,  Cologne  and  other  continental  cities.  Mr.  Cole's 
most  recent  orchestral  composition,  "  Symphonic  Pre- 
lude," was  given  a  successful  performance  at  Mr. 
Gunn's  second  American  concert  in  Chicago  in  March 
of  the  present  year.   His  sonata  for  piano  and  violin 


American  Composer  141 

(M.S.)  has  had  many  notable  performances,  (once 
before  the  Illinois  Association  in  1912  by  Mr.  Cole  and 
Miss  Woodworm)  by  Theodore  Spiering,  Herbert 
Butler,  Ludwig  Marum,  and  others. 

Adolph  Weidig,  born  November  28th,  1867,  at 
Hamburg,  Germany.  The  following  sketch  of  Mr. 
Weidig's  career  was  printed  in  these  programs  upon 
the  occasion  of  the  first  performance  at  the  concerts  of 
the  Chicago  orchestra  of  his  Capriccio  for  orchestra, 
the  data  having  been  furnished  by  himself  at  the  request 
of  the  editor  of  the  program  book.  This  matter  with 
additions  to  bring  it  up  to  date,  is  reprinted  here  as 
being  an  authoritative  account  of  the  artistic  accomp- 
lishments of  the  composer  of  the  Symphonic  Suite. 
"  Mr.  Weidig  comes  from  a  musical  family,  his  father 
still  being  a  member  of  the  City  Theatre  Orchestra  at 
Hamburg.  He  began  his  studies  at  the  Hamburg  Con- 
servatory, where  he  received  instruction  in  violin 
playing  from  Karl  Bargheer,  a  pupil  of  Spohr,  and  in 
piano  playing  and  theory  from  the  celebrated  Dr. 
Riemann.  At  the  age  of  sixteen  he  became  a  member 
of  the  local  Philharmonic  Orchestra  where  he  had  the 
good  fortune  to  become  acquainted  with  such  distin- 
guished musicians  as  Von  Bulow,  Brahms,  Tschaikow- 
sky,  etc.  After  winning  the  Frankfort '  Mozart  Prize,' 
with  a  string  quartette,  Mr.  Weidig  proceeded  to 
Munich  to  continue  his  studies  under  Abel  and  Rhein- 
berger.  (The  Mozart  Prize,  established  in  1838,  is 
provided  for  the  surplus  of  the  Frankfort  'Liederkranz.' 
The  winner  is  entitled  to  an  annual  allowance  of 
eighteen  hundred  marks— about  $450.00— for  a  period 
of  four  years.)  While  in  Munich  Mr.  Weidig  composed 
a  number  of  works,  among   which  were  a  symphony 


142  William  Dawson  Armstrong 

and  overture  'Sappho.'  The  latter  was  performed  by 
Mr.  Thomas  at  the  World's  Fair.  After  graduating 
from  the  Munich  school  in  1891  with  the  highest  honors, 
Mr.  Weidig  came  to  America,  locating  in  Chicago, 
which  city  has  since  been  his  home.  For  four  years 
(1892-1896)  he  occupied  a  place  among  the  first  violins 
in  the  Chicago  Orchestra,  and  according  to  his  own 
statement  these  four  years  were  among  the  most  profit- 
able of  all  his  years  of  study,  in  as  much  as  he  thus 
became  thoroughly  familiar  not  only  with  all  orchestral 
master-works,  but  also  with  the  technique  of  the 
modern  orchestra." 

To  this  account  may  be  added  the  information  that 
Mr.  Weidig  is  an  associate  director  of  the  American 
Conservatory  of  Music.  In  the  season  1908-1909  he 
directed  a  number  of  his  orchestral  compositions  in 
some  of  the  important  music  centers  of  Germany, 
Berlin,  Frankfort-on-the-Main,  Hamburg,  etc.  The 
works  for  orchestra  by  Mr.  Weidig  that  have  been 
played  at  concerts  of  the  Chicago  Symphony  Orchestra 
comprise  the  following:  Capriccio,  Opus  13,  produced 
January  5-6,  1900,  under  the  direction  of  Theodore 
Thomas;  Symphonic  Fantasie,  "  Semiramis,"  Opus  33, 
based  on  a  poem  by  Edward  Markham,  produced 
March  2-3,  1906,  under  the  direction  of  Frederick 
Stock;  Three  Episodes,  Opus  38,  produced  March  13- 
14,  1908,  under  the  direction  of  Frederick  Stock. 

William  D.  Armstrong,  born  in  Alton,  Illinois, 
February  11th,  1868,  residence  Alton,  fluent  writer  of 
pianoforte  and  organ  music,  also  many  vocal  and 
orchestral  compositions. 

Frank  L.  Bristow,  born  in  Jacksonville,  Illinois, 
April  24th,  1844,  educated  there  under  Strachauer  and 


American  Composer  143 

Wimmerstedt.  He  resided  in  Covington,  Ky.,  where 
he  was  superintendent  of  music  in  public  schools.  Mr. 
Bristow  has  been  secretary  and  treasurer  of  the  State 
Teachers'  Association  and  president  of  the  same;  has 
taught  instrumental  and  vocal  music  in  most  of  the 
southern  states;  he  resided  in  Covington  for  twenty 
years;  is  author  of  several  collections  of  singing  books 
for  classes,  and  two  cantatas  for  ladies'  voices,  "Rain- 
bow "  and  "  Pleiads,"  as  well  as  other  compositions  for 
chorus. 

Wm.  Conrad,  born  November  1st,  1869,  at  Fulton, 
Illinois,  educated  under  Fisher,  Fehl  and  S.  E.Jacobson. 
Made  his  debut  at  the  age  of  thirteen.  First  theatrical 
engagement  at  the  age  of  fifteen.  Played  first  violin  at 
Academy  of  Music  since  spring  of  1889;  first  violin  at  St. 
Jacobs  Clark  Street  Theater  since  October  27th.  Spec- 
ialties violin  and  zither.  Teacher  of  violin  at  the  West- 
ern Musical  Academy.  Author  of  "  Largo  "  for  string 
quartette  and  duet  for  zither  and  piano. 

Martin  S.  Wesley,  born  January  20th,  1839,  in 
Plainefield,  111.,  resides  in  San  Jose,  California.  Teacher 
of  voice  culture  and  singing,  harmony,  counterpoint 
and  musical  composition;  chorus  conducting.  Author 
of  nearly  100  sheet  music  songs  and  quartettes.  Is  also 
author  of  musical  book,  The  Festival  Chimes,  1863; 
The  Cluster,  1873;  The  Welcome  Hour,  1877;  and  many 
compositions  appeared  in  New  York  when  he  was 
fifteen  years  of  age.  He  was  for  many  years  employed 
in  conducting  musical  conventions,  mostly  in  Illinois 
and  the  adjoining  states.  Was  associate  principal  of 
Martin  Stillman  and  Towne's  Normal  Music  School  for 
some  years. 

Albert  George  Parker  was  born  September  21,1856, 


144  William  Dawson  Armstrong 

in  Kankakee,  111.,  and  was  educated  under  Clarence 
Eddy  and  Frederick  Grant  Gleason  of  Chicago  and  at 
the  Royal  Conservatory  at  Stuttgart.  Returning  to 
America  in  1882  he  became  instructor  of  music  at  Syra- 
cuse University,  and  in  1883  was  made  professor  of 
piano  and  organ  where  he  still  is  one  of  the  most  active 
and  able  American  musical  educators. 

Otto  Pfefferkorn,  born  in  Germany  in  1863,  resi- 
dence Denver,  Colorado,  was  educated  in  Boston  Uni- 
versity and  New  England  Conservatory,  from  which  he 
graduated  in  1885.  Pianist,  and  is  the  author  of  a  num- 
ber of  compositions  of  chamber  music,  piano  pieces,  etc. 
Director  of  music  in  the  University  of  Denver. 

Mrs.  Nellie  Bangs  Skelton  was  born  August  15th, 
1859,  in  Lacon,  Illinois.  Popular  pianist,  educated  under 
de  Roode-Rice  and  author  of  a  number  of  piano  pieces. 
Residence  in  Chicago. 

Oliver  B.  Skinner  was  born  February  7,  1864,  in 
Lake  Zurich,  111.,  resides  in  Bloomington,  Illinois,  and 
was  educated  at  Kullak  Conservatory,  Berlin,  and 
graduated  in  1887.  Director  of  Bloomington  Conserva- 
tory of  Music.  Teacher  of  piano  and  theory  and  is  an 
able  and  active  musician,  composer  of  piano  studies  and 
small  works. 

The  following  are  some  of  the  Illinois  composers: 

Jane  Bingham  Abbot,  Vocal. 

Carrie  Jacobs  Bond,  Vocal. 

Louise  Agnes  Garnett,  Vocal. 

John  Alden  Carpenter,  Vocal  and  Instrumental. 

Franklin  Stead,  Vocal  and  Instrumental. 

Rosseter  G.  Cole,  Vocal  and  Instrumental. 

Horace  Ellis,  Vocal  and  Instrumental. 

G.  A.  Grant-Schaefer,  Vocal  and  Instrumental. 


American  Com  poser  145 

Hubbard  W.  Harris,  Vocal  and  Instrumental. 

G.  A.  Havens,  Vocal  and  Instrumental. 

Edwin  Schneider,  Vocal  and  Instrumental. 

Adolf  Weidig,  Vocal  and  Instrumental. 

F.  W.  Root,  Vocal  and  Instrumental. 

Walter  Keller,  Vocal  and  Instrumental. 

P.  G.  Lutkin,  Vocal  and  Instrumental. 

Philo  A.  Otis,  Vocal  and  Instrumental. 

Walter  Spry,  Vocal 

Hugo  Goodwin,  Vocal. 

Arne  Oldberg,  Vocal. 

Arthur  Dunham,  Vocal  and  Instrumental. 

Wilhelm  Middleschutte,  Vocal  and  Instrumental. 

Arthur  Olaf  Anderson,  Vocal  and  Instrumental. 

Felix  Borowski,  Vocal  and  Instrumental. 

Cyril  A.  Graham,  Vocal  and  Instrumental. 

Eric  De  Lamarter,  Vocal  and  Instrumental. 

Carl  W.  Beecher,  Instrumental. 

Edythe  Pryn  Hall,  Instrumental. 

Wilmot  Lemont,  Instrumental. 

John  Palmer,  Instrumental. 

Elenore  Smith,  Vocal. 

Elizabeth  Garisey  Harvey,  Instrumental. 

Leo  Sowerby,  Instrumental. 

Eleanor  Everest  Freer,  Vocal  and  Instrumental. 

Edward  G.  Moore,  Vocal. 

Herbert  E.  Hyde,  Vocal. 

Adolf  Brune,  Instrumental. 

Wm.  E.  Lester,  Vocal. 

Jessie  L.  Gaynor,  Vocal. 


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